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 India and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 The Durutti Column to the electroclash kids.
I played it at Trash.
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 Sixth Finger. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Gary Puckett & The Union Gap,
Swell Maps,
Black Flag,
FM Einheit,
Peter and Kerry,
Barry Ungar,
Cecil Taylor,
The Five Americans,
The Vogues,
Louis and Bebe Barron,
The Monks,
Drexciya,
Sam Rivers,
The Count Five,
Colin Newman,
The Smiths,
Oppenheimer Analysis,
Eyeless In Gaza,
One Last Wish,
Outsiders,
Angels of Light & Akron/Family,
Laurel Aitken,
Bauhaus,
F. McDonald,
The Slackers,
Marcia Griffiths,
Rhythim Is Rhythim,
Saccharine Trust,
Porter Ricks,
Radiopuhelimet,
Gerry Rafferty,
Camouflage,
The Mummies,
The Fire Engines,
David McCallum,
Scratch Acid,
Flash Fearless,
The Smoke,
Agitation Free,
Rotary Connection,
Minny Pops,
Red Lorry Yellow Lorry,
Graham Central Station,
the Normal,
Soulsonic Force,
D'Angelo,
Marc Romboy vs. Booka Shade,
Robert Hood,
Judy Mowatt,
Derrick Morgan,
The Gap Band,
Accadde A,
Howard Jones,
The Human League,
The Motions,
Dual Sessions,
John Cale,
Talk Talk,
Thee Headcoats,
Mad Mike,
KRS-One,
Smog, Smog, Smog, Smog.
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.