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 Saudi Arabia and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Halifax.
I'm losing my edge to the art-school Manila 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 Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 The Offenders to the grime kids.
I played it at the 40 Watt.
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 Ajijia Myrayebe. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Mandrill,
The Standells,
Vladislav Delay,
Crash Course in Science,
Ultravox,
Dave Gahan,
Wally Richardson,
The Blues Magoos,
Black Moon,
Rotary Connection,
Agent Orange,
Henry Cow,
Joyce Sims,
Stiv Bators,
Rites of Spring,
Sound Behaviour,
Sällskapet,
Echospace,
Visage,
Derrick Morgan,
John Cale,
Ossler,
Andrew Ashong & Theo Parrish,
The Sisters of Mercy,
Kauko Röyhkä ja Narttu,
Bauhaus,
Funkadelic,
Throbbing Gristle,
Unrelated Segments,
Gil Scott Heron,
Sight & Sound,
Hoover,
Guru Guru,
Smog,
Ornette Coleman,
ABBA,
kango's stein massive,
Swans,
The Five Americans,
John Foxx,
Animal Collective,
Eric Dolphy,
Monks,
Y Pants,
Yazoo,
Desert Stars,
Godley & Creme,
Barry Ungar,
The Human League,
Lafayette Afro Rock Band,
Whodini,
Wasted Youth,
Big Daddy Kane,
Camouflage,
The Trojans,
Crispian St. Peters,
The Cowsills,
Lungfish,
Jesper Dahlbäck,
Rod Modell,
Aswad,
Sparks,
The United States of America, The United States of America, The United States of America, The United States of America.
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.