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 Burkina and from New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 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 Gong. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every The Skatalites 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a ABC 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?
Underground Resistance,
Bang On A Can,
Rowland S Howard / Lydia Lunch,
Marshall Jefferson,
Young Marble Giants,
Outsiders,
Lizzy Mercier Descloux,
Bootsy's Rubber Band,
Cabaret Voltaire,
Laurel Aitken,
X-101,
The Tremeloes,
Porter Ricks,
Cluster,
The Slits,
Country Joe & The Fish,
The Skatalites,
Hot Snakes,
Stereo Dub,
The Dead C,
Crispian St. Peters,
Loose Ends,
The Litter,
The Move,
Fear,
The Young Rascals,
Erasure,
Gang Gang Dance,
Subhumans,
Richard Hell and the Voidoids,
A Flock of Seagulls,
The Evens,
Danielle Patucci,
Babytalk,
Ultra Naté,
Quadrant,
Susan Cadogan,
China Crisis,
Depeche Mode,
OOIOO,
The New Christs,
Jesper Dahlback,
Steve Hackett,
The Misunderstood,
Pantaleimon,
Avey Tare & Kría Brekkan,
Harmonia,
Boogie Down Productions,
The Fuzztones,
The Techniques,
Rahsaan Roland Kirk,
Lindisfarne,
The Mighty Diamonds,
Unwound,
Grauzone,
Pet Shop Boys,
Visage,
Talk Talk,
Albert Ayler,
The Pop Group,
Drive Like Jehu,
Eric B and Rakim,
Matthew Bourne,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.