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 Tuvalu and from Copenhagen.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Gang Green to the punk kids.
I played it at the Crocodile.
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 Todd Rundgren. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Delta 5,
Echo & the Bunnymen,
Isaac Hayes,
Anthony Braxton,
Q and Not U,
Fear,
Mandrill,
Toni Rubio,
KRS-One,
EPMD,
Make Up,
DeepChord presents Echospace,
Warsaw,
Lou Reed & John Cale,
Idris Muhammad,
Gil Scott-Heron and Jamie xx,
Sparks,
Vladislav Delay,
Dave Gahan,
The Alarm Clocks,
Connie Case,
The Victims,
Jeff Lynne,
Yaz,
Fifty Foot Hose,
Lakeside,
Silicon Teens,
Siglo XX,
Eric Dolphy,
Grauzone,
Dead Boys,
Simply Red,
Mars,
Colin Newman,
Public Enemy,
Sight & Sound,
Dorothy Ashby,
Fort Wilson Riot,
Unwound,
Subhumans,
The Leaves,
A Flock of Seagulls,
Negative Approach,
Marc Romboy vs. Booka Shade,
Kings Of Tomorrow,
Yellowson,
Albert Ayler,
A Certain Ratio,
Blake Baxter,
Masters at Work,
Josef K,
Notorious Big And Bone Thugs,
Grey Daturas,
The Pop Group,
The Names,
The Cosmic Jokers,
Bob Dylan,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.