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 Iceland and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Woodstock 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Agent Orange to the dance 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 Be Bop Deluxe. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every The Slits 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Lou Reed,
Dawn Penn,
Roy Ayers Ubiquity,
8 Eyed Spy,
Howard Jones,
The Royal Family And The Poor,
Masters at Work,
Gang Green,
Matthew Bourne,
The Monks,
DJ Style,
Minny Pops,
Vladislav Delay,
Kings Of Tomorrow,
Subhumans,
John Foxx,
Make Up,
The Grass Roots,
Chrome,
Gang Starr,
Traffic Nightmare,
Yazoo,
AZ,
London Community Gospel Choir,
Section 25,
Hot Snakes,
Siouxsie and the Banshees,
Lou Christie,
The Stooges,
The Slackers,
The Alarm Clocks,
Adolescents,
Amon Düül,
Barrington Levy,
Lou Reed & John Cale,
Robert Görl,
Infiniti,
John Lydon,
David Axelrod,
48th St. Collective,
Amon Düül II,
Kango’s Stein Massive,
The Smoke,
Clear Light,
Man Parrish,
Pulsallama,
The West Coast Pop Art Experimental Band,
The Smiths,
Silicon Teens,
The Golliwogs,
Easy Going,
Lalo Schifrin,
La Düsseldorf,
Popol Vuh,
Ralphi Rosario,
Soul Sonic Force,
Piero Umiliani,
Camberwell Now,
The Raincoats,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.