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 Libya and from Beijing.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lagos and Calgary.
I'm losing my edge to the art-school Paris 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 Buzzcocks practice in a loft in Bolton.
I was working on the linndrum 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 Avey Tare to the punk 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 Kauko Röyhkä ja Narttu. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Subhumans,
Massinfluence,
De La Soul & Jungle Brothers,
Arab on Radar,
Magazine,
Livin' Joy,
The J.B.'s,
Janne Schatter,
Eli Mardock,
Second Layer,
Art Ensemble Of Chicago,
Television Personalities,
Pierre Henry,
Bobby Hutcherson,
Roger Hodgson,
Rapeman,
Henry Cow,
Buzzcocks,
Das Ding,
Marvin Gaye,
Sugar Minott,
Sunsets and Hearts,
Public Enemy,
Essential Logic,
The Gories,
Lyres,
Lucky Dragons,
Cheater Slicks,
Reagan Youth,
The Real Kids,
Bootsy's Rubber Band,
Groovy Waters,
Gang Starr,
Siglo XX,
Fat Boys,
Unrelated Segments,
Boogie Down Productions,
China Crisis,
Orchestral Manoeuvres in the Dark,
Vaughan Mason & Crew,
The Fugs,
Crime,
Theoretical Girls,
Soulsonic Force,
Deutsch Amerikanische Freundschaft,
Parry Music,
Thee Headcoats,
Gang Gang Dance,
Avey Tare's Slasher Flicks,
Hashim,
The Durutti Column,
U.S. Maple,
Mission of Burma,
10cc,
DJ Sneak,
Masters at Work,
Pagans,
Sun City Girls,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.