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 Africa and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school New York 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 arpeggiator 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 Subhumans to the rock 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 Ultravox. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Dennis Brown,
JFA,
John Foxx,
Byron Stingily,
Hasil Adkins,
Sunsets and Hearts,
Janne Schatter,
10cc,
Schoolly D,
Interpol,
The Wake,
Grey Daturas,
Neil Young & Crazy Horse,
Deadbeat,
Mandrill,
The Birthday Party,
Sam Rivers,
DNA,
Soulsonic Force,
Pharoah Sanders,
Lou Reed & John Cale,
Alice Coltrane,
Albert Ayler,
Qualms,
London Community Gospel Choir,
Smog,
The Men They Couldn't Hang,
Symarip,
Half Japanese,
Kerrie Biddell,
Wally Richardson,
Heaven 17,
Maurizio,
The Grass Roots,
Barbara Tucker,
Gil Scott Heron,
New York Dolls,
The Blues Magoos,
The Black Dice,
The Peanut Butter Conspiracy,
The Smoke,
Röyhkä ja Rättö ja Lehtisalo,
Jawbox,
Erykah Badu,
Rahsaan Roland Kirk,
the Swans,
Frankie Knuckles,
Red Lorry Yellow Lorry,
Delta 5,
Parry Music,
The Shadows of Knight,
Quantec,
Ohio Players,
Harry Pussy,
Bill Wells,
The Kinks,
Rapeman,
Notorious Big And Bone Thugs,
Iggy Pop,
Stockholm Monsters,
The Victims,
The Misunderstood,
Scrapy, Scrapy, Scrapy, Scrapy.
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.