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 Honduras and from Columbus.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Seoul 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 mellotron 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 Laurel Aitken to the jazz 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 Jimmy McGriff. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Crooked Eye 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 '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Orchestral Manoeuvres in the Dark,
The Motions,
Scientists,
The Raincoats,
Heavy D & The Boyz,
Scratch Acid,
World's Most,
Fluxion,
Little Man,
The J.B.'s,
Gang Starr,
The Slackers,
Rowland S Howard / Lydia Lunch,
Angels of Light & Akron/Family,
Kauko Röyhkä ja Narttu,
Joey Negro,
Liaisons Dangereuses,
Skaos,
Soulsonic Force,
Rod Modell,
Vaughan Mason & Crew,
Crime,
ABBA,
Sandy B,
Susan Cadogan,
Sad Lovers and Giants,
Vladislav Delay,
The Shadows of Knight,
The Star Department,
Amazonics,
Fat Boys,
K-Klass,
B.T. Express,
Peter Gordon & Love of Life Orchestra,
Avey Tare,
Masters at Work,
Brass Construction,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Peter and Kerry,
Mary Jane Girls,
Japan,
Tom Boy,
Mad Mike,
The Moleskins,
Simply Red,
Matthew Bourne,
Drive Like Jehu,
Soul II Soul,
James White and The Blacks,
Warren Ellis,
Marc Romboy vs. Booka Shade,
Pierre Henry,
Albert Ayler,
Niagra,
Man Parrish,
The Cowsills,
Brand Nubian,
the Bar-Kays,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.