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 Gabon and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Halifax 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 sitar sounds with much patience.
I was there when Lou Reed 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 Slits to the techno kids.
I played it at the Roxy.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Slave,
Q and Not U,
Notorious BIG live in Amsterdam,
Sound Behaviour,
Louis and Bebe Barron,
Animal Collective,
It's A Beautiful Day,
The Doors,
The Evens,
the Fania All-Stars,
The West Coast Pop Art Experimental Band,
Nick Cave & The Bad Seeds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bush Tetras,
Pete Rock & C.L. Smooth,
The Mummies,
Sarah Menescal,
The Royal Family And The Poor,
Roy Ayers,
Stockholm Monsters,
John Foxx,
Gong,
8 Eyed Spy,
MDC,
Eve St. Jones,
Bang on a Can All-Stars,
Jacques Brel,
Kerri Chandler,
Simply Red,
The Leaves,
Pantytec,
Kauko Röyhkä ja Narttu,
Cybotron,
The Dave Clark Five,
Public Image Ltd.,
Colin Newman,
Monks,
Vaughan Mason & Crew,
Easy Going,
Clear Light,
A Flock of Seagulls,
Mo-Dettes,
Cluster,
Drexciya,
KRS-One,
Technova,
Warren Ellis,
Glambeats Corp.,
Make Up,
Skarface,
Magma,
the Soft Cell,
Joe Finger,
Stereo Dub,
Television Personalities,
Barbara Tucker,
Morten Harket,
FM Einheit,
Camberwell Now,
Jandek,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.