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 Papua New Guinea and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Milan 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 David Bowie 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 Liliput to the electroclash kids.
I played it at the Crocodile.
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 Howard Jones. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal grime 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 a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
The Gap Band,
Amon Düül II,
Wally Richardson,
Scratch Acid,
Scott Walker,
The Neon Judgement,
The Modern Lovers,
Pylon,
New Order,
Gang Starr,
Mark Hollis,
Tubeway Army,
Eli Mardock,
Flamin' Groovies,
Deutsch Amerikanische Freundschaft,
Mo-Dettes,
The Vogues,
Jacques Brel,
Big Daddy Kane,
Pagans,
Ultra Naté,
Toni Rubio,
Soft Machine,
Jawbox,
The Human League,
Josef K,
Lalo Schifrin,
Lizzy Mercier Descloux,
Ultramagnetic MC's,
Banda Bassotti,
Teenage Jesus and the Jerks,
The Blackbyrds,
Thinking Fellers Union Local 282,
The Zeros,
Avey Tare,
U.S. Maple,
Swans,
10cc,
Make Up,
Hasil Adkins,
ABBA,
Index,
T.S.O.L.,
Aloha Tigers,
David Axelrod,
Stiv Bators,
Soft Cell,
Minor Threat,
Neu!,
Bad Manners,
David McCallum,
Sarah Menescal,
MC5,
Shoche,
Liliput,
Agitation Free,
Inner City,
Spoonie Gee,
Dawn Penn,
Lafayette Afro Rock Band,
The Golliwogs,
The Red Krayola,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.