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 Guinea-Bissau and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Lyon 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 mellotron 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 Young Marble Giants to the rap kids.
I played it at the Spitz.
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 Black Flag. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every The Names 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Notorious Big And Bone Thugs,
Ultimate Spinach,
John Lydon,
Kaleidoscope,
The Fortunes,
Eric B and Rakim,
Black Bananas,
Basic Channel,
The Names,
Icehouse,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Mo-Dettes,
Funkadelic,
Public Enemy,
The Black Dice,
Dorothy Ashby,
Harpers Bizarre,
Animal Collective,
The Alarm Clocks,
Lou Reed & John Cale,
Glambeats Corp.,
The Associates,
Quando Quango,
The Fugs,
The Human League,
Avey Tare & Kría Brekkan,
Gil Scott Heron,
The Happenings,
Accadde A,
U.S. Maple,
The Walker Brothers,
Aswad,
Rekid,
Franke,
Marc Almond,
Eddi Front,
Reuben Wilson,
Lucky Dragons,
Justin Hinds & The Dominoes,
Minnie Riperton,
Lightning Bolt,
Moss Icon,
Organ,
Avey Tare,
Kings Of Tomorrow,
Au Pairs,
The Music Machine,
Black Sheep,
the Normal,
The Gap Band,
Howard Jones,
the Soft Cell,
Sunsets and Hearts,
Scientists,
The Neon Judgement,
Drive Like Jehu,
Gabor Szabo,
Suicide,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.