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 Madagascar and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Edmonton 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 marimba 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 Avey Tare to the punk kids.
I played it at the Spitz.
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 Lindisfarne. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Moebius,
Lou Reed & Metallica,
Bronski Beat,
The Remains,
Dual Sessions,
Duran Duran,
The Beau Brummels,
Procol Harum,
Ash Ra Tempel,
Eric Copeland,
It's A Beautiful Day,
Q65,
Strawberry Alarm Clock,
Massinfluence,
Surgeon,
The United States of America,
Howard Jones,
The Monks,
Godley & Creme,
Dave Gahan,
Nico,
U.S. Maple,
Reagan Youth,
Bush Tetras,
Soft Machine,
Minny Pops,
Quando Quango,
Peter and Kerry,
Sly & The Family Stone,
Black Flag,
These Immortal Souls,
Wire,
Crooked Eye,
Orchestral Manoeuvres in the Dark,
E-Dancer,
Man Eating Sloth,
Soft Cell,
Nils Olav,
8 Eyed Spy,
The Cramps,
Avey Tare's Slasher Flicks,
DeepChord presents Echospace,
Bobby Byrd,
Chris Corsano,
Fugazi,
Rosa Yemen,
Prince Buster,
Letta Mbulu,
Magazine,
Metal Thangz,
Simply Red,
Average White Band,
Rhythim Is Rhythim,
Monolake,
Kerrie Biddell,
Ultra Naté,
Basic Channel,
The Trojans,
June of 44,
AZ,
Manfred Mann's Earth Band,
The Golliwogs,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.