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 South Sudan and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Normal to the techno kids.
I played it at the Roxy.
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 Johnny Osbourne. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Aloha Tigers 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave 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?
Chris & Cosey,
James Chance & The Contortions,
The Zeros,
Barrington Levy,
Rekid,
Fluxion,
The Seeds,
Major Organ And The Adding Machine,
The Moleskins,
Hardrive,
Swans,
Saccharine Trust,
Bluetip,
Jesper Dahlback,
Ponytail,
Black Bananas,
Spandau Ballet,
Average White Band,
Selector Dub Narcotic,
The Jesus and Mary Chain,
Flipper,
Motorama,
Scratch Acid,
Alison Limerick,
Deutsch Amerikanische Freundschaft,
Drexciya,
The Dirtbombs,
Blossom Toes,
Lee Hazlewood,
The Skatalites,
Clear Light,
Technova,
Scrapy,
The Toasters,
Neu!,
Ajijia Myrayebe,
Bronski Beat,
The Vogues,
Amon Düül II,
Visage,
Bobby Byrd,
Derrick May,
The Angels of Light,
Jawbox,
L. Decosne,
The Selecter,
Cymande,
Gong,
Bobby Sherman,
Electric Prunes,
Heavy D & The Boyz,
World's Most,
Visionaries,LMNO, T- Love & Iriscience,
Terry Callier,
Lucky Dragons,
The Happenings,
Juan Atkins,
Silicon Teens,
Stereo Dub,
Colin Newman,
Arab on Radar,
Zero Boys,
Q and Not U,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.