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 Monaco and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Country Joe & The Fish to the grunge kids.
I played it at the 40 Watt.
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 Don Cherry. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
David Bowie,
Ohio Players,
Dave Gahan,
Dead Boys,
The Move,
Cecil Taylor,
Kurtis Blow,
Urselle,
Godley & Creme,
Tomorrow,
Mission of Burma,
cv313,
F. McDonald,
Depeche Mode,
Sister Nancy,
World's Most,
Dorothy Ashby,
Erasure,
Robert Hood,
John Foxx,
Brick,
Mad Mike,
Susan Cadogan,
10cc,
Gil Scott-Heron & Brian Jackson,
Symarip,
The Saints,
Juan Atkins,
Ice-T,
Agent Orange,
Traffic Nightmare,
June Days,
Moebius,
Peter & Gordon,
Pulsallama,
Lightning Bolt,
Fela Kuti,
The Electric Prunes,
The Residents,
Henry Cow,
Glambeats Corp.,
Kool G Rap & DJ Polo,
The Seeds,
Brothers Johnson,
Lucky Dragons,
Kauko Röyhkä ja Narttu,
The Golliwogs,
Chris Corsano,
Gastr Del Sol,
Yaz,
Thee Headcoats,
Kool Moe Dee,
The Cramps,
Cameo,
Funkadelic,
Minor Threat,
The Smoke,
Hardrive,
The Last Poets,
Cybotron, Cybotron, Cybotron, Cybotron.
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.