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 Marshall Islands and from Bremen.
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 1973.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Manchester 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 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 Louis and Bebe Barron to the grime kids.
I played it at CBGB's.
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 Matthew Bourne. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every the Germs 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Funkadelic,
Blossom Toes,
The Fuzztones,
Schoolly D,
Dawn Penn,
Manfred Mann's Earth Band,
Bobby Womack,
The Raincoats,
Inner City,
Bauhaus,
Goldenarms,
AZ,
Pantaleimon,
B.T. Express,
Pulsallama,
Lower 48,
10cc,
Byron Stingily,
Janne Schatter,
Model 500,
The Stooges,
The Slackers,
Thompson Twins,
Bang on a Can All-Stars,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Jawbox,
The Pretty Things,
Eli Mardock,
Toni Rubio,
Bobby Hutcherson,
Mr. Review,
Country Teasers,
Theoretical Girls,
Girls At Our Best!,
Beasts of Bourbon,
Gang Starr,
Piero Umiliani,
UT,
Electric Prunes,
Blake Baxter,
The Moleskins,
The Evens,
Index,
The Music Machine,
Alison Limerick,
Guru Guru,
Slave,
David Bowie,
Freddie Wadling,
Marmalade,
Ponytail,
The Move,
Sugar Minott,
Danielle Patucci,
Bootsy's Rubber Band,
Harry Pussy,
David McCallum,
Todd Rundgren,
Grauzone,
Section 25, Section 25, Section 25, Section 25.
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.