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 Bulgaria and from Philadelphia.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Madrid 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Minnie Riperton to the electroclash kids.
I played it at CBGB's.
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 The Barracudas. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Marvin Gaye 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Kayak,
Maleditus Sound,
Danielle Patucci,
Gil Scott-Heron & Brian Jackson,
EPMD,
Cybotron,
Tres Demented,
The Gap Band,
June of 44,
Pharaoh Sanders and the Fire Engines,
The Music Machine,
The Fortunes,
Ultimate Spinach,
The Angels of Light,
Bob Dylan,
Reuben Wilson,
OOIOO,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Make Up,
Ash Ra Tempel,
Technova,
Barclay James Harvest,
The New Christs,
Eli Mardock,
Eurythmics,
Roxy Music,
ABBA,
Morten Harket,
Scion,
Sunsets and Hearts,
The Fugs,
Chrome,
Unwound,
The Zeros,
a-ha,
Jeff Lynne,
Urselle,
David Axelrod,
Skriet,
Wings,
Amon Düül II,
Fat Boys,
The Fire Engines,
Agent Orange,
Gastr Del Sol,
Grandmaster Flash,
Q and Not U,
Quando Quango,
Selector Dub Narcotic,
Marine Girls,
Camberwell Now,
Susan Cadogan,
Drive Like Jehu,
Index,
Panda Bear,
The Modern Lovers,
Monolake,
Gong, Gong, Gong, Gong.
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.