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 Rwanda and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Lille 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Guru Guru to the rap 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 Gang Gang Dance. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
R.M.O.,
Iggy Pop,
The Count Five,
Rosa Yemen,
Spandau Ballet,
Letta Mbulu,
Q and Not U,
Neil Young,
The American Breed,
Louis and Bebe Barron,
Negative Approach,
The Remains,
Blossom Toes,
Be Bop Deluxe,
X-Ray Spex,
The Index,
Quando Quango,
Juan Atkins,
Girls At Our Best!,
Buzzcocks,
Japan,
F. McDonald,
Kevin Saunderson,
Dual Sessions,
Peter and Kerry,
Man Eating Sloth,
Alice Coltrane,
Fatback Band,
Rowland S Howard / Lydia Lunch,
Royal Trux,
Essential Logic,
Darondo,
Davy DMX,
Fluxion,
Agitation Free,
Inner City,
Sight & Sound,
James Chance & The Contortions,
Sister Nancy,
Ornette Coleman,
Angry Samoans,
the Association,
Harpers Bizarre,
The Victims,
cv313,
Franke,
Ken Boothe,
The West Coast Pop Art Experimental Band,
The Sonics,
Black Flag,
Skarface,
Silicon Teens,
8 Eyed Spy,
Nils Olav,
La Düsseldorf,
Gang Gang Dance,
The Invisible,
Neil Young & Crazy Horse,
Tom Boy,
The Music Machine,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.