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 Paris.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 John Foxx to the electroclash kids.
I played it at the Spitz.
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 Sarah Menescal. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Average White Band,
Moby Grape,
Suburban Knight,
Fear,
David McCallum,
Cecil Taylor,
Mark Hollis,
JFA,
Lee Hazlewood,
Art Ensemble Of Chicago,
Vladislav Delay,
Kool G Rap & DJ Polo,
Camberwell Now,
Big Daddy Kane,
The Birthday Party,
The Names,
Davy DMX,
Avey Tare's Slasher Flicks,
Quando Quango,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sight & Sound,
Sun Ra,
The Trojans,
Barrington Levy,
Robert Görl,
Neil Young,
Sad Lovers and Giants,
Prince Buster,
Radiopuhelimet,
Black Pus,
Richard Hell and the Voidoids,
Rufus Thomas,
Hasil Adkins,
The Durutti Column,
Fat Boys,
Boredoms,
Excepter,
Wally Richardson,
Ronnie Foster,
Outsiders,
Rekid,
Mr. Review,
The Gories,
Thompson Twins,
London Community Gospel Choir,
Goldenarms,
Josef K,
The Invisible,
Scott Walker + Sunn O))),
Minutemen,
Toni Rubio,
Skarface,
Jeff Lynne,
Eric B and Rakim,
Matthew Bourne,
Albert Ayler,
Japan,
The Martian,
the Bar-Kays,
The Toasters,
The Raincoats,
Lou Reed & Metallica,
Saccharine Trust,
PIL, PIL, PIL, PIL.
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.