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 Swaziland and from Shanghai.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Milan and Winnipeg.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Adolescents to the electroclash kids.
I played it at the Roxy.
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 Selector Dub Narcotic. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
The Busters,
Pet Shop Boys,
Cabaret Voltaire,
Hasil Adkins,
Henry Cow,
Von Mondo,
Dennis Brown,
Vaughan Mason & Crew,
ABBA,
Man Parrish,
Guru Guru,
Maleditus Sound,
Marmalade,
Jeff Mills,
The Monochrome Set,
The Electric Prunes,
Malaria!,
Smog,
Whodini,
Prince Buster,
Trumans Water,
DJ Style,
Royal Trux,
Althea and Donna,
Average White Band,
Oblivians,
Sight & Sound,
the Association,
Essential Logic,
Maurizio,
Minor Threat,
Aswad,
Andrew Ashong & Theo Parrish,
Pulsallama,
Skarface,
The Fall,
Thompson Twins,
Marvin Gaye,
Yellowson,
Neu!,
The Detroit Cobras,
Technova,
Black Moon,
Erykah Badu,
Cluster,
Pere Ubu,
Anakelly,
Mad Mike,
Quando Quango,
Iggy Pop,
Tom Boy,
Crispian St. Peters,
Pete Rock & C.L. Smooth,
Rod Modell,
Fela Kuti,
The Seeds,
Symarip,
Main Source,
John Lydon,
Organ,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.