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 Australia and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Blake Baxter to the funk kids.
I played it at the Astoria.
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 Rod Modell tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Strawberry Alarm Clock,
Scott Walker,
ABC,
New York Dolls,
Cheater Slicks,
Alphaville,
Throbbing Gristle,
Scan 7,
Popol Vuh,
Grandmaster Flash and the Furious Five,
R.M.O.,
Flash Fearless,
The Vogues,
Lizzy Mercier Descloux,
Underground Resistance,
OOIOO,
Todd Rundgren,
X-101,
Peter & Gordon,
Lafayette Afro Rock Band,
Nirvana,
The Martian,
Depeche Mode,
Neil Young,
Notorious Big And Bone Thugs,
Tres Demented,
Derrick May,
Mission of Burma,
Marvin Gaye,
Delta 5,
Mark Hollis,
Lungfish,
John Cale,
Banda Bassotti,
Sight & Sound,
Sister Nancy,
The Divine Comedy,
Ronnie Foster,
The Smoke,
Marc Romboy vs. Booka Shade,
The Cosmic Jokers,
cv313,
Unwound,
Deutsch Amerikanische Freundschaft,
Agent Orange,
Jeff Mills,
Wire,
Minor Threat,
T.S.O.L.,
Traffic Nightmare,
Kenny Larkin,
Jerry Gold Smith,
Robert Wyatt,
Y Pants,
Ultra Naté,
Maurizio,
Rekid,
H. Thieme,
8 Eyed Spy,
Stockholm Monsters,
Yazoo,
Hot Snakes,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.