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 Angola and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
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 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 Tom Verlaine 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 Saccharine Trust to the grime kids.
I played it at the 40 Watt.
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 Alphaville. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Pantytec,
Brass Construction,
Procol Harum,
Arthur Verocai,
Black Pus,
A Flock of Seagulls,
Qualms,
Eden Ahbez,
The Walker Brothers,
Steve Hackett,
Agent Orange,
Lizzy Mercier Descloux,
The Sound,
The Misunderstood,
Buzzcocks,
Sun City Girls,
Larry & the Blue Notes,
Loose Ends,
H. Thieme,
Iggy Pop,
Gregory Isaacs,
UT,
the Sonics,
Brothers Johnson,
PIL,
Chris & Cosey,
Essential Logic,
Jesper Dahlback,
June of 44,
The Jesus and Mary Chain,
Eric B and Rakim,
Scion,
Mo-Dettes,
Q and Not U,
The Durutti Column,
The Techniques,
Pharaoh Sanders and the Fire Engines,
John Holt,
Ash Ra Tempel,
Smog,
Slick Rick,
Moby Grape,
Marcia Griffiths,
Robert Görl,
DNA,
Camron Feat. Memphis Bleek And Beenie Seigel,
Goldenarms,
Zero Boys,
The Buckinghams,
Model 500,
Girls At Our Best!,
Wally Richardson,
The Beau Brummels,
New Age Steppers,
Andrew Hill,
Ice-T,
The Cure,
Jandek,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.