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 Sweden and from Madrid.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Manchester 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Urselle to the disco 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 Monolake. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Sound Behaviour,
Marmalade,
The Alarm Clocks,
Crime,
Nick Fraelich,
the Association,
Ultravox,
Country Joe & The Fish,
Selector Dub Narcotic,
Darondo,
Terry Callier,
Camberwell Now,
Bobby Hutcherson,
Kango’s Stein Massive,
Tubeway Army,
AZ,
Theoretical Girls,
Das Ding,
Orchestral Manoeuvres in the Dark,
Shuggie Otis,
Lou Reed & John Cale,
Public Image Ltd.,
Schoolly D,
The Music Machine,
Lou Christie,
Isaac Hayes,
Rod Modell,
Rites of Spring,
Minor Threat,
Spandau Ballet,
Joey Negro,
Vaughan Mason & Crew,
Young Marble Giants,
Grey Daturas,
Black Pus,
Neu!,
Ten City,
The Gap Band,
Japan,
Fela Kuti,
The Sound,
Peter Gordon & Love of Life Orchestra,
Lonnie Liston Smith,
Letta Mbulu,
Tommy Roe,
Harpers Bizarre,
Unwound,
Soulsonic Force,
the Soft Cell,
The Smiths,
Oneida,
Icehouse,
The Evens,
The Kinks,
Dave Gahan,
Organ,
Lou Reed,
Stockholm Monsters,
Barbara Tucker,
Maleditus Sound,
Metal Thangz,
Lalann,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.