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 Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Men They Couldn't Hang to the dance kids.
I played it at Cafe Wha.
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 Monks. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
The Trojans,
Aural Exciters,
Eddi Front,
Swans,
The Smoke,
Larry & the Blue Notes,
Stereo Dub,
The Mojo Men,
Neu!,
The Selecter,
The Tremeloes,
Fort Wilson Riot,
Barry Ungar,
Maurizio,
Girls At Our Best!,
Peter & Gordon,
The Sound,
Lee Hazlewood,
The Monochrome Set,
Gil Scott Heron,
Jawbox,
Nick Cave & The Bad Seeds,
Mark Hollis,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
Average White Band,
FM Einheit,
Pierre Henry,
London Community Gospel Choir,
R.M.O.,
Marine Girls,
Adolescents,
The Alarm Clocks,
Gastr Del Sol,
Country Teasers,
Sällskapet,
Crispy Ambulance,
Model 500,
Jacob Miller,
Newcleus,
Pantaleimon,
The Detroit Cobras,
Popol Vuh,
Public Image Ltd.,
The Chocolate Watch Band,
Minny Pops,
Ossler,
Bang On A Can,
Wally Richardson,
Barrington Levy,
Rakim,
Susan Cadogan,
Pete Rock & C.L. Smooth,
Nirvana,
The Happenings,
John Foxx,
Roy Ayers Ubiquity,
Colin Newman,
Visage,
Q65,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.