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 Chad and from Spokane.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Lille.
I'm losing my edge to the art-school Toronto 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 Throbbing Gristle practice in a loft in London.
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 Maurizio to the jazz 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 Pylon. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Ice-T,
Lucky Dragons,
Desert Stars,
The Royal Family And The Poor,
Deutsch Amerikanische Freundschaft,
Niagra,
Henry Cow,
Strawberry Alarm Clock,
Intrusion,
Depeche Mode,
Harpers Bizarre,
Moby Grape,
The Martian,
Crispian St. Peters,
Tommy Roe,
Das Ding,
Nick Fraelich,
The Alarm Clocks,
Cal Tjader,
Aural Exciters,
KRS-One,
This Heat,
Red Lorry Yellow Lorry,
Monolake,
Max Romeo,
Little Man,
Slave,
Arthur Verocai,
New York Dolls,
Ornette Coleman,
Deadbeat,
John Cale,
The Divine Comedy,
The Index,
Bauhaus,
Ohio Players,
Sly & The Family Stone,
kango's stein massive,
Bang on a Can All-Stars,
Colin Newman,
The West Coast Pop Art Experimental Band,
Al Stewart,
Quantec,
Soulsonic Force,
Art Ensemble Of Chicago,
Franke,
Camouflage,
The Offenders,
10cc,
Dennis Brown,
Robert Görl,
Fifty Foot Hose,
Throbbing Gristle,
Mission of Burma,
Massinfluence,
Avey Tare's Slasher Flicks,
Electric Light Orchestra,
Peter Gordon & Love of Life Orchestra,
Junior Murvin,
Au Pairs,
Gang Green,
Chrome,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.