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 Costa Rica and from Cairo.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school Salvador 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 1976 at the first Wire practice in a loft in Watford.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Victims to the electroclash kids.
I played it at the Crocodile.
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 Urselle. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Brass Construction,
Sight & Sound,
Don Cherry,
Hashim,
Drive Like Jehu,
Jerry Gold Smith,
The Star Department,
Symarip,
Scientists,
Henry Cow,
Moby Grape,
Sun Ra,
Bush Tetras,
Matthew Halsall,
The Electric Prunes,
London Community Gospel Choir,
Average White Band,
Magma,
Althea and Donna,
Hasil Adkins,
The Cure,
Dave Gahan,
Adolescents,
KRS-One,
Tropical Tobacco,
Jimmy McGriff,
Bill Wells,
Tom Boy,
Captain Beefheart & His Magic Band,
Ossler,
Fluxion,
the Slits,
Nick Cave & The Bad Seeds,
Howard Jones,
Avey Tare's Slasher Flicks,
Eyeless In Gaza,
Bobby Byrd,
Scion,
Matthew Bourne,
The Flesh Eaters,
48th St. Collective,
Swell Maps,
Fad Gadget,
UT,
Throbbing Gristle,
David McCallum,
Gil Scott-Heron & Brian Jackson,
Zero Boys,
Quadrant,
Mad Mike,
Funky Four + One,
Gang Gang Dance,
Judy Mowatt,
Brothers Johnson,
The Last Poets,
Loose Ends,
The Move,
Bluetip,
Teenage Jesus and the Jerks,
Cameo,
the Germs, the Germs, the Germs, the Germs.
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.