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 Kuwait and from Portland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Toronto and London.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Bronski Beat to the grunge 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 Curtis Mayfield. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Barracudas,
The Standells,
Wire,
Ituana,
Infiniti,
Bauhaus,
In Retrospect,
New York Dolls,
Sad Lovers and Giants,
Agitation Free,
Visage,
The Litter,
The Buckinghams,
The Electric Prunes,
Don Cherry,
Brothers Johnson,
Lalann,
the Association,
The Move,
Au Pairs,
Sound Behaviour,
Public Image Ltd.,
Ultra Naté,
Nico,
Cal Tjader,
Sixth Finger,
Kerri Chandler,
Mad Mike,
Yaz,
Michelle Simonal,
DNA,
Vainqueur,
Pierre Henry,
Peter and Kerry,
Pantaleimon,
Josef K,
Excepter,
the Swans,
Neil Young,
The Gladiators,
Lucky Dragons,
The Knickerbockers,
These Immortal Souls,
Angry Samoans,
Stockholm Monsters,
Flipper,
The Beau Brummels,
Larry & the Blue Notes,
Big Daddy Kane,
Faust,
Monks,
Peter & Gordon,
Main Source,
Oneida,
Ash Ra Tempel,
The Angels of Light,
Neil Young & Crazy Horse,
Motorama,
Howard Jones,
La Düsseldorf,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.