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 Nicaragua and from Hong Kong.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Ossler to the grunge kids.
I played it at the 40 Watt.
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 Pussy Galore. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
PIL,
The Grass Roots,
The Five Americans,
Spoonie Gee,
Mantronix,
X-101,
Bang On A Can,
Marine Girls,
Mo-Dettes,
Crooked Eye,
Sight & Sound,
The Leaves,
The Human League,
Black Pus,
The Detroit Cobras,
R.M.O.,
Kerrie Biddell,
Deakin,
Lower 48,
John Coltrane,
Second Layer,
The Cowsills,
The Electric Prunes,
Con Funk Shun,
The Saints,
Girls At Our Best!,
Eric B and Rakim,
The Raincoats,
Kayak,
Gil Scott-Heron & Brian Jackson,
Drexciya,
June of 44,
The Gladiators,
Vaughan Mason & Crew,
The Star Department,
Ultra Naté,
Electric Light Orchestra,
Lungfish,
Chris Corsano,
Motorama,
The Royal Family And The Poor,
EPMD,
Mars,
The Divine Comedy,
Zero Boys,
Hasil Adkins,
The Golliwogs,
Deadbeat,
Bobby Hutcherson,
The Searchers,
Von Mondo,
Gil Scott-Heron and Jamie xx,
Fluxion,
KRS-One,
Throbbing Gristle,
Tears for Fears,
Marcia Griffiths,
Freddie Wadling,
Angry Samoans,
Adolescents,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.