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 Serbia and from Houston.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Taipei 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Goldenarms to the electroclash kids.
I played it at the Troubador.
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 Sex Pistols. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Wally Richardson,
Index,
The Seeds,
Reuben Wilson,
Agent Orange,
Nico,
Neil Young,
Model 500,
The Mighty Diamonds,
Popol Vuh,
The Wake,
Cameo,
Gary Puckett & The Union Gap,
The Smoke,
The Trojans,
Von Mondo,
Robert Görl,
London Community Gospel Choir,
Eurythmics,
Grey Daturas,
Maleditus Sound,
Red Lorry Yellow Lorry,
DeepChord presents Echospace,
Kings Of Tomorrow,
Cymande,
Scrapy,
Girls At Our Best!,
Roy Ayers,
Barclay James Harvest,
Roy Ayers Ubiquity,
Radiopuhelimet,
Siouxsie and the Banshees,
Yazoo,
Faraquet,
The New Christs,
Q and Not U,
Amazonics,
Young Marble Giants,
Skriet,
Janne Schatter,
Con Funk Shun,
10cc,
Super Lover Cee & Casanova Rud,
Gil Scott Heron,
Moebius,
Ultra Naté,
Barbara Tucker,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Mills,
Manfred Mann's Earth Band,
The Buckinghams,
Loose Ends,
Anthony Braxton,
CMW,
Terrestrial Tones,
Teenage Jesus and the Jerks,
The Neon Judgement,
Magazine, Magazine, Magazine, Magazine.
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.