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 Bahrain and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Red Lorry Yellow Lorry to the punk 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 Pere Ubu. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Max Romeo,
The Music Machine,
Joe Smooth,
June Days,
Anthony Braxton,
London Community Gospel Choir,
Black Pus,
Erykah Badu,
Sparks,
Popol Vuh,
Davy DMX,
Super Lover Cee & Casanova Rud,
Lou Christie,
cv313,
Urselle,
Todd Rundgren,
Sam Rivers,
Harry Pussy,
Quadrant,
Subhumans,
Teenage Jesus and the Jerks,
Arthur Verocai,
Kurtis Blow,
A Certain Ratio,
Vaughan Mason & Crew,
Sunsets and Hearts,
Joensuu 1685,
The Standells,
Terry Callier,
Sister Nancy,
48th St. Collective,
Inner City,
Letta Mbulu,
Fort Wilson Riot,
LL Cool J,
Lebanon Hanover,
Interpol,
The Invisible,
Talk Talk,
John Holt,
The Toasters,
The Jesus and Mary Chain,
Bauhaus,
Warsaw,
FM Einheit,
Jawbox,
Amon Düül,
Jeru the Damaja,
Donny Hathaway,
Excepter,
Black Flag,
Shuggie Otis,
Sound Behaviour,
Aaron Thompson,
Ronan,
This Heat,
The Pop Group,
Sun Ra,
Ludus,
The Wake,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.