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 Angola and from Lille.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Cluster to the rap kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Boredoms,
Johnny Osbourne,
Marc Almond,
The Detroit Cobras,
The Chocolate Watch Band,
The Young Rascals,
Davy DMX,
D'Angelo,
Ash Ra Tempel,
Arab on Radar,
Siglo XX,
Stereo Dub,
Gang Starr,
Strawberry Alarm Clock,
Peter and Kerry,
Erasure,
Qualms,
Quadrant,
Kool G Rap & DJ Polo,
The Gladiators,
Lalann,
The Martian,
Andrew Ashong & Theo Parrish,
Nation of Ulysses,
Amon Düül II,
Groovy Waters,
Colin Newman,
Depeche Mode,
The Sisters of Mercy,
The Zeros,
The Residents,
K-Klass,
Pylon,
X-102,
Icehouse,
Red Lorry Yellow Lorry,
Darondo,
Bobby Sherman,
The Raincoats,
Ronan,
The Motions,
Little Man,
Subhumans,
cv313,
Trumans Water,
Intrusion,
Crispian St. Peters,
Jeff Mills,
Alton Ellis,
Rotary Connection,
Zero Boys,
Wings,
Justin Hinds & The Dominoes,
Boogie Down Productions,
Sugar Minott,
Tim Buckley,
Hardrive,
Rosa Yemen,
The Standells,
Throbbing Gristle,
Siouxsie and the Banshees,
Peter Gordon & Love of Life Orchestra,
Ponytail,
Roxette, Roxette, Roxette, Roxette.
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.