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 Luxembourg and from Jakarta.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 The Kinks to the disco kids.
I played it at the Troubador.
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 The Pop Group. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Notorious BIG live in Amsterdam,
Jesper Dahlback,
Ossler,
Man Eating Sloth,
Ponytail,
The Men They Couldn't Hang,
Piero Umiliani,
Whodini,
Jimmy McGriff,
Black Pus,
Niagra,
Peter and Kerry,
Brick,
Talk Talk,
Kerrie Biddell,
Mary Jane Girls,
Inner City,
Barry Ungar,
The Sonics,
The Golliwogs,
The Buckinghams,
Ice-T,
Howard Jones,
Amon Düül,
Ultramagnetic MC's,
The Cramps,
The Beau Brummels,
Frankie Knuckles,
The Barracudas,
Black Bananas,
Lyres,
Glenn Branca,
Mandrill,
Darondo,
Lightning Bolt,
Camouflage,
Sly & The Family Stone,
Kerri Chandler,
Stereo Dub,
Traffic Nightmare,
The Real Kids,
Avey Tare's Slasher Flicks,
Crash Course in Science,
Y Pants,
Ken Boothe,
Suburban Knight,
The Gap Band,
Procol Harum,
Johnny Clarke,
Wings,
Nick Fraelich,
Hardrive,
La Düsseldorf,
Ituana,
Model 500,
Soft Machine,
Kayak,
Tom Boy,
FM Einheit,
Scan 7,
Delta 5,
Wire,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.