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 Singapore and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1976.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Shoche to the dance kids.
I played it at the 40 Watt.
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 Youth Brigade. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Mo-Dettes 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels 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?
Scott Walker,
Echo & the Bunnymen,
The Moody Blues,
Skarface,
The Gories,
Delon & Dalcan,
The United States of America,
The Fugs,
Sunsets and Hearts,
The Associates,
Monolake,
Jeru the Damaja,
Vladislav Delay,
Lou Reed & John Cale,
Pantaleimon,
Chrome,
Theoretical Girls,
10cc,
The Busters,
Easy Going,
Jacob Miller,
Ralphi Rosario,
The West Coast Pop Art Experimental Band,
X-Ray Spex,
Little Man,
Archie Shepp,
Eurythmics,
Blake Baxter,
Gil Scott-Heron and Jamie xx,
Roger Hodgson,
OOIOO,
Letta Mbulu,
Q and Not U,
Bootsy Collins,
Ken Boothe,
Josef K,
Soul II Soul,
Organ,
Quando Quango,
Brick,
cv313,
The American Breed,
Dual Sessions,
The Jesus and Mary Chain,
Chris Corsano,
Sex Pistols,
B.T. Express,
The Slits,
Roxy Music,
The Gun Club,
Intrusion,
Joey Negro,
The Stooges,
Fatback Band,
Clear Light,
Vaughan Mason & Crew,
Rotary Connection,
The Neon Judgement,
Reuben Wilson,
This Heat,
Ituana,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.