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 Poland and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Madrid 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash and the Furious Five to the electroclash kids.
I played it at the Troubador.
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 Blossom Toes. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every The Gun Club 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
The Dirtbombs,
Marcia Griffiths,
Scientists,
Chrome,
Piero Umiliani,
Young Marble Giants,
Tres Demented,
Desert Stars,
Grauzone,
Nik Kershaw,
Radiopuhelimet,
The Index,
the Human League,
Ituana,
Delta 5,
Joe Finger,
Audionom,
The Victims,
Andrew Hill,
Skriet,
China Crisis,
Essential Logic,
Mantronix,
ABBA,
Robert Hood,
The Happenings,
Henry Cow,
KRS-One,
Sixth Finger,
Shoche,
Dead Boys,
Rakim,
The Angels of Light,
Idris Muhammad,
Letta Mbulu,
8 Eyed Spy,
The Barracudas,
the Slits,
Animal Collective,
Technova,
The Royal Family And The Poor,
Iggy Pop,
The Electric Prunes,
Depeche Mode,
The Stooges,
Vainqueur,
Siglo XX,
A Flock of Seagulls,
Lonnie Liston Smith,
Rotary Connection,
Trumans Water,
Teenage Jesus and the Jerks,
Susan Cadogan,
Buzzcocks,
Public Enemy,
The Chocolate Watch Band,
Faust,
Johnny Osbourne,
Jacques Brel,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.