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 Togo and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Mark Hollis to the electroclash 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 Mark Hollis. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Marc Romboy vs. Booka Shade,
Terry Callier,
Sunsets and Hearts,
Ultra Naté,
The Leaves,
Siglo XX,
Jesper Dahlbäck,
Joy Division,
Massinfluence,
Jacques Brel,
Roxette,
Rod Modell,
Fad Gadget,
Kurtis Blow,
Röyhkä ja Rättö ja Lehtisalo,
Skriet,
Aural Exciters,
The Monochrome Set,
Jeru the Damaja,
8 Eyed Spy,
Barclay James Harvest,
Man Eating Sloth,
Graham Central Station,
Bootsy's Rubber Band,
Hasil Adkins,
One Last Wish,
Peter Gordon & Love of Life Orchestra,
Depeche Mode,
The Remains,
June of 44,
Rekid,
Sun City Girls,
The Neon Judgement,
Rotary Connection,
Funky Four + One,
Gary Puckett & The Union Gap,
The Flesh Eaters,
Gil Scott Heron,
the Sonics,
Main Source,
Vladislav Delay,
Swans,
Bootsy Collins,
Wings,
Susan Cadogan,
Lungfish,
Ludus,
Throbbing Gristle,
Average White Band,
Sound Behaviour,
Bang On A Can,
Bobby Sherman,
Quadrant,
Rahsaan Roland Kirk,
Boz Scaggs,
Sugar Minott,
The Red Krayola,
Jandek,
The Selecter,
The Names,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.