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 Chile and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Jakarta 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 Throbbing Gristle practice in a loft in London.
I was working on the linndrum 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 Soul II Soul to the disco 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 a-ha. All the underground hits.
All E-Dancer 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
The Fugs,
Absolute Body Control,
Gil Scott Heron,
David McCallum,
Orchestral Manoeuvres in the Dark,
Warren Ellis,
Jimmy McGriff,
EPMD,
Morten Harket,
Carl Craig,
Connie Case,
Sticky Fingaz feat. Raekwon,
Tropical Tobacco,
Kayak,
Q and Not U,
Nico,
The Fuzztones,
The Cure,
Judy Mowatt,
Little Man,
Stetsasonic,
Mr. Review,
Funky Four + One,
FM Einheit,
Be Bop Deluxe,
Pylon,
The Dirtbombs,
Silicon Teens,
The Searchers,
Jeru the Damaja,
Gang Gang Dance,
Marine Girls,
Jacques Brel,
In Retrospect,
Beasts of Bourbon,
June Days,
Barclay James Harvest,
Archie Shepp,
Duran Duran,
Heavy D & The Boyz,
Larry & the Blue Notes,
Talk Talk,
Scientists,
Drive Like Jehu,
Chris Corsano,
The Smoke,
Eli Mardock,
10cc,
Gichy Dan,
Fear,
UT,
Ultramagnetic MC's,
Althea and Donna,
Stereo Dub,
AZ,
Frankie Knuckles,
Hasil Adkins,
Bizarre Inc.,
Eve St. Jones,
cv313,
Michelle Simonal,
Franke, Franke, Franke, Franke.
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.