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 Ecuador and from Glasgow.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Calgary 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 Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator 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 Talk Talk to the jazz kids.
I played it at the Spitz.
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 Robert Hood. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Boredoms,
The Cowsills,
Bang on a Can All-Stars,
Vaughan Mason & Crew,
Ash Ra Tempel,
Alton Ellis,
Mr. Review,
Max Romeo,
Schoolly D,
Jawbox,
Electric Light Orchestra,
The Slackers,
Deadbeat,
Nico,
Mark Hollis,
Stockholm Monsters,
The Walker Brothers,
The Index,
the Swans,
The Five Americans,
Gabor Szabo,
Art Ensemble Of Chicago,
T.S.O.L.,
Television,
MC5,
Q and Not U,
Depeche Mode,
Motorama,
Terry Callier,
Super Lover Cee & Casanova Rud,
Peter Gordon & Love of Life Orchestra,
Ossler,
Second Layer,
Gil Scott-Heron & Brian Jackson,
Ultramagnetic MC's,
Röyhkä ja Rättö ja Lehtisalo,
R.M.O.,
This Heat,
Tears for Fears,
World's Most,
The Sonics,
Public Enemy,
The Sound,
Fifty Foot Hose,
The Invisible,
Manfred Mann's Earth Band,
The Sisters of Mercy,
John Holt,
De La Soul & Jungle Brothers,
Sun Ra Arkestra,
Albert Ayler,
Funky Four + One,
The Grass Roots,
CMW,
Country Teasers,
Joyce Sims,
Eli Mardock,
Sticky Fingaz feat. Raekwon,
Ultra Naté,
Mary Jane Girls,
Tom Boy,
Lightning Bolt,
The Doors, The Doors, The Doors, The Doors.
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.