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 Gabon and from New York.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Taipei 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 güiro sounds with much patience.
I was there when Lou Reed 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 Barrington Levy to the funk kids.
I played it at Cafe Wha.
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 Stooges. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Sam Rivers 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 '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Moby Grape,
Aswad,
Frankie Knuckles,
Soft Machine,
Skarface,
Inner City,
Thinking Fellers Union Local 282,
Rhythim Is Rhythim,
Aloha Tigers,
Sam Rivers,
the Swans,
Pharaoh Sanders and the Fire Engines,
The Men They Couldn't Hang,
X-102,
Black Bananas,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
The Dirtbombs,
The Angels of Light,
Royal Trux,
Thee Headcoats,
The Mummies,
Rosa Yemen,
Red Lorry Yellow Lorry,
The Residents,
Cybotron,
Tomorrow,
DNA,
Charles Mingus,
Jesper Dahlback,
Loose Ends,
Jeru the Damaja,
Half Japanese,
FM Einheit,
Sonny Sharrock,
Amon Düül,
Matthew Bourne,
Angry Samoans,
Rotary Connection,
Notorious Big And Bone Thugs,
Goldenarms,
Bang On A Can,
Maleditus Sound,
R.M.O.,
Skaos,
Colin Newman,
The Sisters of Mercy,
Avey Tare,
Television,
Drexciya,
Magazine,
The Fire Engines,
Q and Not U,
June of 44,
Country Teasers,
Bobby Hutcherson,
Sun City Girls,
Dave Gahan,
the Soft Cell,
The Cowsills,
Sound Behaviour,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.