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 Australia and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Brass Construction to the dance 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 Vainqueur. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Mo-Dettes,
Thee Headcoats,
Stereo Dub,
Fatback Band,
Scratch Acid,
Marine Girls,
Howard Jones,
Bad Manners,
The Cure,
Andrew Hill,
Unwound,
Davy DMX,
Stockholm Monsters,
Be Bop Deluxe,
L. Decosne,
Ituana,
Larry & the Blue Notes,
Teenage Jesus and the Jerks,
The Litter,
Ultramagnetic MC's,
Cybotron,
Gang Gang Dance,
Rahsaan Roland Kirk,
The Gories,
Fifty Foot Hose,
Liliput,
The Red Krayola,
Tim Buckley,
X-101,
Sarah Menescal,
Drive Like Jehu,
Connie Case,
UT,
Avey Tare & Kría Brekkan,
Sight & Sound,
Idris Muhammad,
Urselle,
Patti Smith,
Kas Product,
Ten City,
The Busters,
Donny Hathaway,
Aswad,
Young Marble Giants,
The Slits,
Henry Cow,
Richard Hell and the Voidoids,
Soft Cell,
The Victims,
48th St. Collective,
John Foxx,
David McCallum,
New Order,
the Swans,
Zapp,
Junior Murvin,
Lalo Schifrin,
Jeff Lynne,
Tubeway Army,
Lyres,
Ralphi Rosario,
Lungfish,
Sällskapet,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.