Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Afghanistan and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1974.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Glasgow kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rekid to the grime kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gang Green. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Royal Family And The Poor record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
The Cramps,
Arab on Radar,
Robert Wyatt,
The Tremeloes,
Franke,
Black Flag,
Barbara Tucker,
Shoche,
Kayak,
Louis and Bebe Barron,
The Kinks,
James White and The Blacks,
Loose Ends,
The Slackers,
Robert Hood,
Bauhaus,
Rakim,
Absolute Body Control,
Sister Nancy,
PIL,
Sandy B,
Au Pairs,
The Sound,
The Trojans,
Dark Day,
Circle Jerks,
La Düsseldorf,
Blancmange,
The Pretty Things,
Bizarre Inc.,
JFA,
Stereo Dub,
Ponytail,
Bang on a Can All-Stars,
Half Japanese,
EPMD,
Clear Light,
A Certain Ratio,
Leonard Cohen,
Pagans,
Dave Gahan,
Glenn Branca,
John Coltrane,
Los Fastidios,
Roy Ayers Ubiquity,
Icehouse,
Erykah Badu,
Moby Grape,
Technova,
Young Marble Giants,
Echospace,
Minnie Riperton,
Silicon Teens,
ABC,
The Durutti Column,
The Toasters,
Kurtis Blow,
H. Thieme,
Kas Product,
The Grass Roots,
Second Layer,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.