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 Trinidad & Tobago and from London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Lou Reed 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 Eric Copeland to the funk kids.
I played it at the Troubador.
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 Fela Kuti. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Swans 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Sight & Sound,
Black Pus,
Pylon,
the Soft Cell,
Gabor Szabo,
Franke,
The United States of America,
The Evens,
The Sisters of Mercy,
The Fire Engines,
Morten Harket,
Grandmaster Flash,
Cabaret Voltaire,
Mary Jane Girls,
The Barracudas,
Soulsonic Force,
Notorious Big And Bone Thugs,
Wire,
Captain Beefheart & His Magic Band,
Eyeless In Gaza,
Junior Murvin,
Porter Ricks,
Unrelated Segments,
Jerry Gold Smith,
Echospace,
Rod Modell,
Lyres,
Skaos,
Massinfluence,
The Kinks,
Monolake,
Marmalade,
The Cowsills,
Gil Scott-Heron & Brian Jackson,
Royal Trux,
Pantytec,
Nirvana,
Arcadia,
Ituana,
New York Dolls,
Matthew Bourne,
N.O.R.E. Featuring Pharrell,
Grauzone,
Orchestral Manoeuvres in the Dark,
Gastr Del Sol,
FM Einheit,
Wings,
X-101,
Rufus Thomas,
Marc Romboy vs. Booka Shade,
Sexual Harrassment,
Whodini,
The Trojans,
Letta Mbulu,
Gichy Dan,
Suburban Knight,
Kas Product,
Albert Ayler,
Ultra Naté,
Wally Richardson,
Ten City, Ten City, Ten City, Ten City.
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.