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 Equatorial Guinea and from Lagos.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Eli Mardock to the electroclash kids.
I played it at the Hacienda.
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 Barry Ungar. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Amazonics 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Mr. Review,
Peter Gordon & Love of Life Orchestra,
Flipper,
Faraquet,
Shoche,
Be Bop Deluxe,
Freddie Wadling,
Drive Like Jehu,
Mandrill,
Lyres,
Wolf Eyes,
Sällskapet,
Brand Nubian,
Lower 48,
Harmonia,
Liaisons Dangereuses,
These Immortal Souls,
This Heat,
The Remains,
Iggy Pop,
Crash Course in Science,
Stereo Dub,
Ultramagnetic MC's,
Silicon Teens,
Barclay James Harvest,
The Stooges,
Gichy Dan,
Mo-Dettes,
Surgeon,
Public Image Ltd.,
Trumans Water,
Idris Muhammad,
Bootsy Collins,
Ohio Players,
The Monochrome Set,
Dave Gahan,
Nick Fraelich,
Juan Atkins,
Boogie Down Productions,
Andrew Ashong & Theo Parrish,
Ultimate Spinach,
A Flock of Seagulls,
Qualms,
Easy Going,
Gil Scott Heron,
China Crisis,
Magazine,
The Pop Group,
Scratch Acid,
The Pretty Things,
Brick,
Kool G Rap & DJ Polo,
Ten City,
Pharaoh Sanders and the Fire Engines,
Severed Heads,
Stiv Bators,
Matthew Bourne,
The Monks,
The New Christs,
Tropical Tobacco,
Smog, Smog, Smog, Smog.
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.