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 Turkmenistan and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 The Red Krayola to the techno 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 Ossler. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Mantronix,
Liaisons Dangereuses,
Harpers Bizarre,
Circle Jerks,
The Sisters of Mercy,
E-Dancer,
Scientists,
Delon & Dalcan,
Fluxion,
Camberwell Now,
48th St. Collective,
Crispy Ambulance,
Nick Fraelich,
Kerrie Biddell,
Pere Ubu,
Sugar Minott,
A Flock of Seagulls,
The Gun Club,
Sam Rivers,
Surgeon,
Spandau Ballet,
The Mighty Diamonds,
Faraquet,
X-102,
Depeche Mode,
Bauhaus,
Mad Mike,
Notorious Big And Bone Thugs,
Tom Boy,
Marcia Griffiths,
New Order,
Masters at Work,
Captain Beefheart & His Magic Band,
Camouflage,
Altered Images,
Tim Buckley,
Shuggie Otis,
Bang on a Can All-Stars,
Kenny Larkin,
Public Enemy,
Gang of Four,
Girls At Our Best!,
Sixth Finger,
Pharoah Sanders,
This Heat,
Cameo,
Yaz,
Country Teasers,
The Human League,
John Foxx,
Radio Birdman,
Public Image Ltd.,
Davy DMX,
Yellowson,
Flipper,
The Gories,
China Crisis,
Pharaoh Sanders and the Fire Engines,
The Mojo Men,
Mission of Burma,
Marvin Gaye,
Banda Bassotti,
Ponytail, Ponytail, Ponytail, Ponytail.
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.