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 Montenegro and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Manchester 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Metal Thangz to the jazz kids.
I played it at the Crocodile.
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 Matthew Bourne. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Lindisfarne,
Bluetip,
Notorious BIG live in Amsterdam,
The Smiths,
Los Fastidios,
The Knickerbockers,
Magazine,
T.S.O.L.,
Nils Olav,
Deakin,
Mr. Review,
London Community Gospel Choir,
Soul Sonic Force,
Bronski Beat,
The Cure,
Scrapy,
PIL,
Freddie Wadling,
Richard Hell and the Voidoids,
Gil Scott-Heron & Brian Jackson,
Judy Mowatt,
Maleditus Sound,
It's A Beautiful Day,
The Raincoats,
The Pop Group,
The Techniques,
Unrelated Segments,
David Axelrod,
Masters at Work,
Q and Not U,
Spandau Ballet,
Hoover,
Peter & Gordon,
Minor Threat,
Jacques Brel,
Dawn Penn,
Fear,
Rowland S Howard / Lydia Lunch,
Stereo Dub,
Supertramp,
Godley & Creme,
Pierre Henry,
Shuggie Otis,
Chris & Cosey,
Arcadia,
Grandmaster Flash,
Surgeon,
Ajijia Myrayebe,
Sad Lovers and Giants,
Jeff Mills,
Y Pants,
Roy Ayers Ubiquity,
Oblivians,
Porter Ricks,
Eric Copeland,
Radiohead,
Oneida,
World's Most, World's Most, World's Most, World's Most.
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.