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 Andorra 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 1962 to 1971.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Mumbai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the jazz 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 Grey Daturas. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Babytalk,
Scratch Acid,
Danielle Patucci,
Black Flag,
Bill Near,
DNA,
Charles Mingus,
Delon & Dalcan,
Chrome,
Andrew Ashong & Theo Parrish,
Dark Day,
The Flesh Eaters,
Minnie Riperton,
Beasts of Bourbon,
Spandau Ballet,
Lou Reed,
Cecil Taylor,
Dennis Brown,
JFA,
Justin Hinds & The Dominoes,
Albert Ayler,
Bauhaus,
Oblivians,
Siouxsie and the Banshees,
8 Eyed Spy,
Lakeside,
Jerry's Kids,
Avey Tare & Kría Brekkan,
Sugar Minott,
Maleditus Sound,
Bill Wells,
Cheater Slicks,
Boredoms,
Television Personalities,
The Monochrome Set,
Rhythim Is Rhythim,
The Tremeloes,
Hardrive,
Q and Not U,
China Crisis,
T.S.O.L.,
New Age Steppers,
Mad Mike,
Absolute Body Control,
Yusef Lateef,
Faust,
Avey Tare,
Al Stewart,
Crooked Eye,
La Düsseldorf,
The Fuzztones,
Jerry Gold Smith,
Marine Girls,
Subhumans,
The Knickerbockers,
Graham Central Station,
Marc Romboy vs. Booka Shade,
Ultramagnetic MC's,
Vainqueur,
Kerrie Biddell,
Sight & Sound,
The Monks,
Agent Orange,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.