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 Libya and from Tehran.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Spandau Ballet to the rock 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 Liliput. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Ludus,
Fort Wilson Riot,
Throbbing Gristle,
Scientists,
Radio Birdman,
Bronski Beat,
Pantaleimon,
Supertramp,
Minny Pops,
Suburban Knight,
The Human League,
Mandrill,
cv313,
Ituana,
Barry Ungar,
Graham Central Station,
The West Coast Pop Art Experimental Band,
Eve St. Jones,
Slick Rick,
Derrick Morgan,
Hardrive,
Agent Orange,
The Red Krayola,
OOIOO,
Johnny Clarke,
Kas Product,
Royal Trux,
Underground Resistance,
Masters at Work,
Nico,
The Monochrome Set,
UT,
The Gap Band,
Todd Terry,
Bob Dylan,
The Royal Family And The Poor,
Pantytec,
Notorious BIG live in Amsterdam,
Bang On A Can,
Byron Stingily,
the Association,
The Happenings,
Scratch Acid,
Moebius,
Toni Rubio,
KRS-One,
The Techniques,
Jandek,
Selector Dub Narcotic,
Desert Stars,
Los Fastidios,
Nirvana,
Stereo Dub,
New Age Steppers,
Fugazi,
Freddie Wadling,
Negative Approach,
The Durutti Column,
Nas,
Rosa Yemen,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.