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 Marshall Islands and from Bologna.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Halifax 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Young Marble Giants to the rock 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 The Misunderstood. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Con Funk Shun,
Rotary Connection,
Pagans,
Sight & Sound,
Babytalk,
Lindisfarne,
Strawberry Alarm Clock,
Jacques Brel,
OOIOO,
The Music Machine,
Sonic Youth,
CMW,
Sunsets and Hearts,
Skriet,
Gian Franco Pienzio,
Fatback Band,
Avey Tare's Slasher Flicks,
Amon Düül,
Howard Jones,
Ultra Naté,
Sam Rivers,
Ultravox,
Goldenarms,
8 Eyed Spy,
The Selecter,
Gerry Rafferty,
The Durutti Column,
The Martian,
PIL,
Art Ensemble Of Chicago,
Television,
Alphaville,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Lizzy Mercier Descloux,
Grey Daturas,
Pylon,
the Normal,
Negative Approach,
Bobbi Humphrey,
Gastr Del Sol,
Ossler,
Blancmange,
Lou Reed & John Cale,
The Buckinghams,
Q and Not U,
Andrew Ashong & Theo Parrish,
B.T. Express,
Au Pairs,
The Walker Brothers,
Aswad,
The Cosmic Jokers,
Lungfish,
Gil Scott-Heron & Brian Jackson,
Urselle,
Dennis Brown,
Trumans Water,
A Flock of Seagulls,
Soul II Soul,
Japan,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.