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 Slovakia and from Lyon.
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 Bologna and Spokane.
I'm losing my edge to the art-school Madrid 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe 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 The Alarm Clocks to the jazz kids.
I played it at the Astoria.
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 R.M.O.. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
The Blues Magoos,
Silicon Teens,
Lindisfarne,
Skaos,
The Saints,
Mark Hollis,
Arcadia,
Bobby Sherman,
Magazine,
Moby Grape,
Lower 48,
KRS-One,
Sandy B,
Idris Muhammad,
Moebius,
Liliput,
Ten City,
Mission of Burma,
Janne Schatter,
CMW,
Public Enemy,
Saccharine Trust,
The Electric Prunes,
The Seeds,
Flamin' Groovies,
This Heat,
Delta 5,
Yusef Lateef,
The Walker Brothers,
These Immortal Souls,
Donny Hathaway,
Andrew Ashong & Theo Parrish,
John Holt,
Mantronix,
The Misunderstood,
48th St. Collective,
10cc,
Yellowson,
Ohio Players,
U.S. Maple,
Brick,
Sound Behaviour,
Marshall Jefferson,
Gong,
Echospace,
David McCallum,
Crooked Eye,
Wings,
Gian Franco Pienzio,
Cabaret Voltaire,
Drexciya,
The Monks,
Jawbox,
Intrusion,
Marcia Griffiths,
Wasted Youth,
Crime,
Schoolly D,
Reagan Youth,
Danielle Patucci,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.