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 Belize and from Johannesburg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Seoul 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 808 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 Dark Day to the techno 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 Dave Gahan. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Rowland S Howard / Lydia Lunch,
CMW,
Fifty Foot Hose,
MC5,
Parry Music,
Radio Birdman,
Unrelated Segments,
Country Joe & The Fish,
Sad Lovers and Giants,
The Monochrome Set,
The Gories,
Bobby Hutcherson,
Prince Buster,
Pharaoh Sanders and the Fire Engines,
Deakin,
Scott Walker,
Camberwell Now,
Los Fastidios,
Deutsch Amerikanische Freundschaft,
Little Man,
Kerrie Biddell,
Agitation Free,
Y Pants,
Pussy Galore,
Theoretical Girls,
Joey Negro,
The Mighty Diamonds,
Pagans,
Boredoms,
Nirvana,
Graham Central Station,
Alphaville,
Icehouse,
Kaleidoscope,
Gichy Dan,
Grandmaster Flash and the Furious Five,
Ralphi Rosario,
Marshall Jefferson,
The Evens,
Big Daddy Kane,
Ten City,
The Seeds,
The Red Krayola,
Hashim,
James Chance & The Contortions,
Porter Ricks,
Lakeside,
Drive Like Jehu,
The Walker Brothers,
Vladislav Delay,
H. Thieme,
Peter & Gordon,
Au Pairs,
Second Layer,
Wings,
Rod Modell,
Sarah Menescal,
Yellowson,
The Move,
Barrington Levy,
The Selecter,
Michelle Simonal,
The Techniques, The Techniques, The Techniques, The Techniques.
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.