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 Liechtenstein and from Glasgow.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Brothers Johnson to the rock kids.
I played it at the Hacienda.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal rap 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Model 500,
Tropical Tobacco,
DJ Style,
Röyhkä ja Rättö ja Lehtisalo,
Barrington Levy,
Fear,
Echo & the Bunnymen,
New York Dolls,
Letta Mbulu,
Gian Franco Pienzio,
Soft Cell,
FM Einheit,
Yazoo,
John Foxx,
Ice-T,
the Fania All-Stars,
Colin Newman,
Pierre Henry,
Groovy Waters,
Spoonie Gee,
Loose Ends,
Yaz,
John Holt,
Marc Almond,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Ossler,
The Modern Lovers,
The Black Dice,
Ten City,
The Dead C,
Lightning Bolt,
Kool Moe Dee,
Rotary Connection,
Ronan,
Mad Mike,
Rites of Spring,
Marc Romboy vs. Booka Shade,
Tubeway Army,
Terrestrial Tones,
Mary Jane Girls,
Tomorrow,
Moebius,
Dark Day,
Franke,
Sun Ra,
Half Japanese,
Dawn Penn,
Cheater Slicks,
David Axelrod,
Soft Machine,
Rufus Thomas,
Sixth Finger,
Sound Behaviour,
Sandy B,
Lou Christie,
Isaac Hayes,
Ponytail,
The Gap Band,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.