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 Peru and from Houston.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Jacques Brel to the crunk 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 Absolute Body Control. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks 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?
Monks,
Jimmy McGriff,
Marine Girls,
Quantec,
Kango’s Stein Massive,
Flipper,
Kaleidoscope,
Gil Scott Heron,
The Raincoats,
Pete Rock & C.L. Smooth,
Rites of Spring,
Notorious BIG live in Amsterdam,
Marshall Jefferson,
Buzzcocks,
Fort Wilson Riot,
AZ,
kango's stein massive,
the Swans,
Bang On A Can,
X-101,
Country Joe & The Fish,
Barbara Tucker,
The Real Kids,
John Cale,
Au Pairs,
Pierre Henry,
Lower 48,
Avey Tare,
Nik Kershaw,
The Dead C,
Whodini,
Excepter,
Peter Gordon & Love of Life Orchestra,
Oppenheimer Analysis,
Steve Hackett,
the Sonics,
Half Japanese,
Bill Wells,
Soft Machine,
Groovy Waters,
Heavy D & The Boyz,
Nirvana,
The Cosmic Jokers,
Terrestrial Tones,
Average White Band,
Black Pus,
Franke,
Cymande,
Magma,
Desert Stars,
The Kinks,
Albert Ayler,
The Stooges,
Eden Ahbez,
The Royal Family And The Poor,
Sister Nancy,
Scion,
Alice Coltrane,
Delta 5,
T.S.O.L.,
Con Funk Shun,
The Slits, The Slits, The Slits, The Slits.
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.