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 Mozambique and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Calgary 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 guitar 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 Howard Jones to the dance kids.
I played it at the Astoria.
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 Marmalade. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Avey Tare & Kría Brekkan,
Janne Schatter,
Dark Day,
Tres Demented,
Bauhaus,
Sly & The Family Stone,
Dennis Brown,
Little Man,
Patti Smith,
Echospace,
Q65,
Aaron Thompson,
John Lydon,
Toni Rubio,
Scion,
E-Dancer,
Whodini,
Derrick May,
David McCallum,
Silicon Teens,
Cabaret Voltaire,
Ten City,
Hardrive,
Kerri Chandler,
Gang of Four,
D'Angelo,
The Last Poets,
Lyres,
Faust,
Rhythim Is Rhythim,
Marc Almond,
The Mojo Men,
Brick,
Maurizio,
Bobby Hutcherson,
R.M.O.,
Accadde A,
Marshall Jefferson,
The Men They Couldn't Hang,
Alphaville,
Pantytec,
The Fire Engines,
Bronski Beat,
The Blackbyrds,
Gabor Szabo,
Archie Shepp,
Minor Threat,
Glenn Branca,
Sun City Girls,
Alison Limerick,
Essential Logic,
Electric Light Orchestra,
Pussy Galore,
Spandau Ballet,
Henry Cow,
Crooked Eye,
Negative Approach,
Be Bop Deluxe,
The Knickerbockers,
Easy Going, Easy Going, Easy Going, Easy Going.
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.