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 Guatemala and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1972.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Philadelphia 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 guitar sounds with much patience.
I was there when David Bowie 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 The Names to the grime kids.
I played it at the Roxy.
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 The Sound. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Television Personalities,
The Kinks,
Avey Tare's Slasher Flicks,
Tubeway Army,
Hardrive,
Susan Cadogan,
the Association,
Infiniti,
Eric Dolphy,
JFA,
Public Image Ltd.,
the Sonics,
Derrick Morgan,
Tropical Tobacco,
Amon Düül II,
Liaisons Dangereuses,
Siouxsie and the Banshees,
Schoolly D,
Spandau Ballet,
The Grass Roots,
Animal Collective,
Glambeats Corp.,
Dennis Brown,
Gregory Isaacs,
Model 500,
Barry Ungar,
Strawberry Alarm Clock,
Ronan,
Television,
The Gap Band,
Gang Starr,
Funky Four + One,
The Angels of Light,
Black Bananas,
Joensuu 1685,
Sonny Sharrock,
Stiv Bators,
Average White Band,
Procol Harum,
The Move,
Terrestrial Tones,
Nick Fraelich,
EPMD,
Crispy Ambulance,
The Fuzztones,
Chrome,
The Barracudas,
The Flesh Eaters,
Pantytec,
Fugazi,
Lee Hazlewood,
Kevin Saunderson,
Metal Thangz,
The Tremeloes,
Bobby Sherman,
Jerry's Kids,
Pere Ubu,
Fat Boys,
Icehouse,
Marshall Jefferson,
Jawbox,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.