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 Botswana and from Columbus.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when David Bowie 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 Deadbeat to the rap 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 A Flock of Seagulls. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal funk 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 a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Kas Product,
Echospace,
The Real Kids,
Second Layer,
Reuben Wilson,
The Monks,
Sly & The Family Stone,
Inner City,
Be Bop Deluxe,
Girls At Our Best!,
Rekid,
Ultra Naté,
Mantronix,
Qualms,
Television Personalities,
Yusef Lateef,
Rakim,
Maurizio,
Harpers Bizarre,
Joey Negro,
Lalann,
Nik Kershaw,
Crispian St. Peters,
The Young Rascals,
Malaria!,
The Detroit Cobras,
Stetsasonic,
Yellowson,
Don Cherry,
The Golliwogs,
Fela Kuti,
The Associates,
D'Angelo,
Kool G Rap & DJ Polo,
Cabaret Voltaire,
Derrick Morgan,
Dead Boys,
Grandmaster Flash and the Furious Five,
Pole,
Moby Grape,
Pantaleimon,
Black Pus,
Max Romeo,
Louis and Bebe Barron,
Wire,
The Grass Roots,
Robert Görl,
Parry Music,
Gang Gang Dance,
Lou Reed,
Kenny Larkin,
Johnny Clarke,
Zapp,
E-Dancer,
Bobbi Humphrey,
the Bar-Kays,
Fatback Band,
Crooked Eye,
Minnie Riperton,
Brothers Johnson,
FM Einheit,
Kerrie Biddell,
Moebius,
Interpol, Interpol, Interpol, Interpol.
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.