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 Lesotho and from Tehran.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Bremen 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 the Spitz.
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 Count Five. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Five Americans,
Marcia Griffiths,
T.S.O.L.,
Model 500,
The Real Kids,
Piero Umiliani,
Bang on a Can All-Stars,
EPMD,
Nirvana,
Franke,
The Sisters of Mercy,
Rowland S Howard / Lydia Lunch,
Barrington Levy,
Young Marble Giants,
Sandy B,
The Skatalites,
The American Breed,
Echo & the Bunnymen,
Cybotron,
Camron Feat. Memphis Bleek And Beenie Seigel,
June Days,
Kurtis Blow,
Jesper Dahlbäck,
Crime,
Soulsonic Force,
Robert Görl,
Charles Mingus,
Peter & Gordon,
Cal Tjader,
H. Thieme,
Joy Division,
The Divine Comedy,
The United States of America,
Traffic Nightmare,
Panda Bear,
Camron Feat. Jay Z And Juelz,
It's A Beautiful Day,
The Stooges,
Crash Course in Science,
The Jesus and Mary Chain,
L. Decosne,
Lakeside,
John Cale,
Joey Negro,
The Misunderstood,
Colin Newman,
Mad Mike,
Man Eating Sloth,
Roger Hodgson,
Flamin' Groovies,
Justin Hinds & The Dominoes,
Ohio Players,
Deakin,
Matthew Halsall,
The Durutti Column,
Althea and Donna,
ABC,
Black Flag,
Scion,
Mo-Dettes,
Ultimate Spinach,
Tommy Roe,
Accadde A,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.