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 Germany and from Mexico City.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Laurel Aitken to the grunge kids.
I played it at the Spitz.
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 John Coltrane. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Mark Hollis,
John Holt,
Danielle Patucci,
Bobbi Humphrey,
Stiv Bators,
D'Angelo,
Lower 48,
Chris Corsano,
Lou Reed & Metallica,
Main Source,
Crash Course in Science,
The Grass Roots,
Warren Ellis,
Andrew Ashong & Theo Parrish,
The Monks,
Avey Tare & Kría Brekkan,
Bluetip,
Soul II Soul,
Connie Case,
Harry Pussy,
Grandmaster Flash and the Furious Five,
The Associates,
The Monochrome Set,
the Slits,
UT,
Spoonie Gee,
Nick Fraelich,
KRS-One,
David McCallum,
Siouxsie and the Banshees,
Anakelly,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
Godley & Creme,
Be Bop Deluxe,
Lou Reed & John Cale,
Bill Wells,
The Slits,
Malaria!,
Bang on a Can All-Stars,
Ossler,
The Buckinghams,
Yellowson,
Beasts of Bourbon,
Todd Terry,
The Fire Engines,
The Human League,
Steve Hackett,
Quadrant,
the Germs,
Khruangbin,
Black Moon,
The American Breed,
Gary Puckett & The Union Gap,
Sight & Sound,
Patti Smith,
Gichy Dan,
L. Decosne,
Maurizio,
Lafayette Afro Rock Band,
Marmalade,
X-102,
Franke,
Drexciya, Drexciya, Drexciya, Drexciya.
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.