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 Colombia and from Mexico City.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Godley & Creme to the grunge kids.
I played it at the Crocodile.
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 Barbara Tucker. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Negative Approach 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Bronski Beat,
Reuben Wilson,
The Martian,
Radiohead,
Deakin,
The Fire Engines,
Hasil Adkins,
Wasted Youth,
The Remains,
Heavy D & The Boyz,
Jimmy McGriff,
Visage,
Gong,
MDC,
Oneida,
the Swans,
Monolake,
The Sound,
Fat Boys,
Big Daddy Kane,
Larry & the Blue Notes,
Tres Demented,
Royal Trux,
Eric Dolphy,
a-ha,
Rosa Yemen,
Fela Kuti,
Lebanon Hanover,
The Electric Prunes,
Organ,
Ituana,
Country Teasers,
The Mummies,
Angels of Light & Akron/Family,
One Last Wish,
Kool Moe Dee,
The Red Krayola,
The Happenings,
The Fortunes,
Bootsy Collins,
Tommy Roe,
Franke,
Unrelated Segments,
Mark Hollis,
Hardrive,
Scion,
Half Japanese,
Guru Guru,
Traffic Nightmare,
Youth Brigade,
Oppenheimer Analysis,
Piero Umiliani,
the Fania All-Stars,
Donald Byrd,
The Pop Group,
Funky Four + One,
The Angels of Light,
Kango’s Stein Massive,
Lizzy Mercier Descloux,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.