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 Libya and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Joe Finger to the rock kids.
I played it at the Hacienda.
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 Slave. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Lalann 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Howard Jones,
Clear Light,
Black Sheep,
Au Pairs,
Throbbing Gristle,
Curtis Mayfield,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fifty Foot Hose,
The Tremeloes,
Ralphi Rosario,
CMW,
Easy Going,
Kauko Röyhkä ja Narttu,
Black Pus,
Jeru the Damaja,
Blake Baxter,
The Electric Prunes,
Lebanon Hanover,
Reuben Wilson,
Infiniti,
The Sonics,
The Remains,
Negative Approach,
The Gories,
Niagra,
Sexual Harrassment,
Suburban Knight,
These Immortal Souls,
Black Moon,
Quadrant,
Sunsets and Hearts,
The Chocolate Watch Band,
Erasure,
The Selecter,
The Cowsills,
The Divine Comedy,
Nation of Ulysses,
Ultimate Spinach,
Pussy Galore,
Faraquet,
Absolute Body Control,
Eve St. Jones,
Louis and Bebe Barron,
Das Ding,
Tom Boy,
Boredoms,
ABBA,
Agent Orange,
Lizzy Mercier Descloux,
DJ Sneak,
Eurythmics,
Hasil Adkins,
Qualms,
The Angels of Light,
Juan Atkins,
Vainqueur,
the Sonics,
Cybotron,
the Swans,
The Wake,
Suicide,
The Doobie Brothers,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.