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 South Africa and from Lille.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Spokane 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Masters at Work to the rap kids.
I played it at CBGB's.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
T. Rex,
Television,
Rhythim Is Rhythim,
Kas Product,
Ultravox,
June Days,
Avey Tare's Slasher Flicks,
The Fugs,
Guru Guru,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
Glambeats Corp.,
Althea and Donna,
Judy Mowatt,
The Gladiators,
the Fania All-Stars,
Pole,
Pylon,
Nirvana,
One Last Wish,
Jawbox,
Art Ensemble Of Chicago,
Tears for Fears,
X-101,
Gil Scott-Heron and Jamie xx,
The Birthday Party,
Quando Quango,
Ultramagnetic MC's,
A Flock of Seagulls,
DJ Sneak,
Vladislav Delay,
Zero Boys,
the Soft Cell,
Isaac Hayes,
Boogie Down Productions,
The Fire Engines,
The Mummies,
Scratch Acid,
Bauhaus,
Eyeless In Gaza,
Avey Tare & Kría Brekkan,
Joe Finger,
Absolute Body Control,
John Lydon,
Black Moon,
John Coltrane,
Joey Negro,
Arthur Verocai,
Intrusion,
Gichy Dan,
Shuggie Otis,
In Retrospect,
The Standells,
Monolake,
Notorious Big And Bone Thugs,
Rosa Yemen,
Manfred Mann's Earth Band,
Hot Snakes,
The Human League,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.