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 Finland and from Lyon.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Edmonton 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 Josef K practice in a loft in Edinburgh.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Bar-Kays to the disco 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 Spandau Ballet. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Ten City,
Electric Light Orchestra,
Godley & Creme,
The Sound,
The Seeds,
Minnie Riperton,
Aaron Thompson,
10cc,
Jerry Gold Smith,
Andrew Ashong & Theo Parrish,
The New Christs,
Pere Ubu,
Dennis Brown,
Make Up,
Mars,
The Fall,
Avey Tare's Slasher Flicks,
The Dead C,
Nick Fraelich,
Sun City Girls,
Barry Ungar,
Sex Pistols,
Joyce Sims,
Gian Franco Pienzio,
Man Eating Sloth,
K-Klass,
Interpol,
It's A Beautiful Day,
The Kinks,
Bush Tetras,
Slick Rick,
Jacob Miller,
Desert Stars,
Pierre Henry,
Rhythm & Sound,
The Selecter,
The Shadows of Knight,
Throbbing Gristle,
Prince Buster,
Quantec,
Theoretical Girls,
Eric Dolphy,
Unwound,
X-102,
E-Dancer,
Dark Day,
Vaughan Mason & Crew,
John Lydon,
Quadrant,
Surgeon,
Bauhaus,
The Move,
Notorious Big And Bone Thugs,
Joy Division,
T. Rex,
Infiniti,
Sandy B,
Public Image Ltd.,
The Happenings,
Patti Smith,
The Toasters, The Toasters, The Toasters, The Toasters.
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.