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 Kiribati and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school Halifax 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Sällskapet to the rap kids.
I played it at the Hacienda.
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 the Swans. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
The Trojans,
Gian Franco Pienzio,
Johnny Clarke,
Idris Muhammad,
Wolf Eyes,
Organ,
Junior Murvin,
Lebanon Hanover,
Alison Limerick,
The Vogues,
The Smoke,
Althea and Donna,
James Chance & The Contortions,
Livin' Joy,
Monolake,
10cc,
Susan Cadogan,
Erasure,
Bobby Hutcherson,
Slave,
Scientists,
U.S. Maple,
The Flesh Eaters,
Curtis Mayfield,
The Toasters,
Unrelated Segments,
Sexual Harrassment,
Pylon,
The Names,
Thee Headcoats,
Minutemen,
The Royal Family And The Poor,
Yazoo,
It's A Beautiful Day,
Cal Tjader,
The Last Poets,
The Detroit Cobras,
Niagra,
Crispian St. Peters,
John Coltrane,
Rufus Thomas,
Pussy Galore,
The Pop Group,
Ajijia Myrayebe,
Lalann,
Yellowson,
Henry Cow,
H. Thieme,
Max Romeo,
Notorious BIG live in Amsterdam,
Icehouse,
New Age Steppers,
Trumans Water,
Masters at Work,
T.S.O.L.,
Rekid,
Underground Resistance,
Man Parrish,
LL Cool J,
David Bowie,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.