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 Samoa and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Winnipeg.
I'm losing my edge to the art-school Toronto 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 theremin 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 Art Ensemble Of Chicago to the grime kids.
I played it at the Astoria.
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 Scott Walker. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
The Alarm Clocks,
Royal Trux,
Graham Central Station,
The Wake,
Ossler,
Niagra,
Alphaville,
Theoretical Girls,
Jacques Brel,
Be Bop Deluxe,
John Holt,
Neu!,
Amazonics,
Cabaret Voltaire,
Monolake,
Kerrie Biddell,
Joey Negro,
The Toasters,
Anakelly,
Brothers Johnson,
Bill Wells,
Arcadia,
Soft Cell,
Depeche Mode,
Schoolly D,
Eyeless In Gaza,
Newcleus,
Josef K,
Flash Fearless,
Soul II Soul,
Tropical Tobacco,
Girls At Our Best!,
Chris & Cosey,
Spandau Ballet,
Au Pairs,
Alison Limerick,
Lungfish,
Flipper,
Aural Exciters,
OOIOO,
The Fortunes,
Cal Tjader,
Tears for Fears,
Easy Going,
Fat Boys,
Ultimate Spinach,
Toni Rubio,
Buzzcocks,
Bush Tetras,
Black Sheep,
Grandmaster Flash,
DJ Style,
Radio Birdman,
Section 25,
Swans,
Sonny Sharrock,
James White and The Blacks,
Andrew Ashong & Theo Parrish,
Procol Harum,
MC5,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.