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 Philippines and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Marc Almond to the dance 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 Barbara Tucker. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal grunge 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 a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Lightning Bolt,
Tomorrow,
The Cure,
Cabaret Voltaire,
Fluxion,
The Evens,
Kings Of Tomorrow,
Audionom,
Cameo,
The Invisible,
Ludus,
The Velvet Underground,
Shoche,
Gang Green,
the Bar-Kays,
Bobby Sherman,
Cal Tjader,
The Vogues,
Symarip,
Avey Tare's Slasher Flicks,
Sun Ra,
Jeru the Damaja,
the Association,
Zapp,
Pulsallama,
Youth Brigade,
Morten Harket,
The Seeds,
The Monochrome Set,
Rhythm & Sound,
Joensuu 1685,
The Zeros,
Byron Stingily,
Jacques Brel,
Al Stewart,
Schoolly D,
The Smiths,
Crispy Ambulance,
Lee Hazlewood,
Rahsaan Roland Kirk,
Louis and Bebe Barron,
The Jesus and Mary Chain,
Marcia Griffiths,
Echospace,
Funky Four + One,
Franke,
Colin Newman,
Little Man,
Rowland S Howard / Lydia Lunch,
The Index,
Brand Nubian,
Crispian St. Peters,
Josef K,
The Gap Band,
Marine Girls,
Make Up,
Chris & Cosey,
DNA,
Neu!,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.