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 Israel and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Tokyo 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 La Düsseldorf to the punk kids.
I played it at the Astoria.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Dead C,
Stiv Bators,
Rites of Spring,
Mo-Dettes,
Japan,
Minny Pops,
Gang Green,
Andrew Ashong & Theo Parrish,
Todd Rundgren,
Captain Beefheart & His Magic Band,
Shuggie Otis,
Funky Four + One,
Procol Harum,
Soulsonic Force,
Johnny Osbourne,
Eric B and Rakim,
Anakelly,
Roger Hodgson,
Hot Snakes,
Nils Olav,
Deepchord,
David Axelrod,
The Busters,
The Dave Clark Five,
Marmalade,
Grauzone,
Drexciya,
Jesper Dahlbäck,
John Coltrane,
Rakim,
Gang Gang Dance,
The Blackbyrds,
Nick Fraelich,
Ronnie Foster,
Barry Ungar,
Porter Ricks,
The Mojo Men,
Sex Pistols,
Stetsasonic,
The Music Machine,
the Germs,
Terry Callier,
Dark Day,
Swans,
Spandau Ballet,
Television Personalities,
The Peanut Butter Conspiracy,
Josef K,
The Pretty Things,
The Royal Family And The Poor,
The Seeds,
Blancmange,
The Skatalites,
Monolake,
Negative Approach,
Robert Wyatt,
Freddie Wadling,
The Human League,
Q and Not U,
The Happenings,
Dual Sessions,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.