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 Morocco and from Tehran.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Columbus 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 Michael McDonald 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 Boz Scaggs to the grunge kids.
I played it at the Troubador.
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 Barbara Tucker. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Excepter,
James Chance & The Contortions,
EPMD,
Pantaleimon,
Animal Collective,
Tropical Tobacco,
Pulsallama,
Cabaret Voltaire,
Traffic Nightmare,
Marcia Griffiths,
Lafayette Afro Rock Band,
Subhumans,
Notorious BIG live in Amsterdam,
Connie Case,
Little Man,
Pole,
CMW,
L. Decosne,
Ponytail,
the Slits,
Marc Almond,
Chris Corsano,
The Leaves,
The Knickerbockers,
Wire,
Dave Gahan,
DJ Style,
Avey Tare & Kría Brekkan,
Bill Near,
The Electric Prunes,
Massinfluence,
John Cale,
Lou Reed & Metallica,
Magazine,
The Cowsills,
Joensuu 1685,
Au Pairs,
Fear,
Rufus Thomas,
Sixth Finger,
Stockholm Monsters,
Chris & Cosey,
Neil Young & Crazy Horse,
ABBA,
The Golliwogs,
Fort Wilson Riot,
Accadde A,
The Gap Band,
Kauko Röyhkä ja Narttu,
Talk Talk,
Al Stewart,
Con Funk Shun,
Aaron Thompson,
Junior Murvin,
The New Christs,
Soul II Soul,
Manfred Mann's Earth Band,
Circle Jerks,
Harmonia,
The Invisible, The Invisible, The Invisible, The Invisible.
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.