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 Italy and from Tokyo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Big Daddy Kane to the techno kids.
I played it at Trash.
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 ABBA. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Dead Boys 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Moebius,
The Moody Blues,
Gil Scott-Heron and Jamie xx,
Parry Music,
Johnny Osbourne,
Grauzone,
Chris & Cosey,
Monks,
The Mojo Men,
Amazonics,
Siouxsie and the Banshees,
Panda Bear,
Metal Thangz,
Barrington Levy,
Ten City,
Toni Rubio,
Matthew Halsall,
Rotary Connection,
Gang of Four,
Dr. Dre and Snoop Doggy Dog,
Whodini,
The Misunderstood,
Delta 5,
Joensuu 1685,
KRS-One,
Popol Vuh,
David Bowie,
Arthur Verocai,
Yazoo,
The Associates,
China Crisis,
D'Angelo,
Donny Hathaway,
Lou Christie,
Marc Almond,
R.M.O.,
The Count Five,
The Buckinghams,
the Fania All-Stars,
Throbbing Gristle,
Kool G Rap & DJ Polo,
Lalo Schifrin,
The Velvet Underground,
DeepChord presents Echospace,
Brand Nubian,
Jacques Brel,
the Slits,
Nas,
Skaos,
Brass Construction,
David McCallum,
H. Thieme,
Be Bop Deluxe,
Scott Walker + Sunn O))),
Peter and Kerry,
Tears for Fears,
Sound Behaviour,
Deakin,
The Slits,
Eurythmics,
Simply Red,
Man Parrish,
Monolake, Monolake, Monolake, Monolake.
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.