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 El Salvador and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Warsaw to the rap kids.
I played it at the Spitz.
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 Ralphi Rosario. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
The Modern Lovers,
Camberwell Now,
Marshall Jefferson,
Au Pairs,
Hardrive,
Davy DMX,
Swell Maps,
The Mummies,
Lou Reed & Metallica,
The Dead C,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
Electric Light Orchestra,
Joe Finger,
Throbbing Gristle,
This Heat,
Michelle Simonal,
The Black Dice,
Aloha Tigers,
The Velvet Underground,
Pole,
Reuben Wilson,
L. Decosne,
Gregory Isaacs,
Tears for Fears,
Silicon Teens,
Ash Ra Tempel,
The Sonics,
Marc Almond,
The Divine Comedy,
Neil Young,
Marvin Gaye,
Mad Mike,
Chris & Cosey,
The Alarm Clocks,
Dave Gahan,
The Walker Brothers,
Animal Collective,
The Durutti Column,
Janne Schatter,
The Barracudas,
Rites of Spring,
Agitation Free,
Parry Music,
The Fire Engines,
Skriet,
Amon Düül II,
Half Japanese,
DJ Sneak,
Notorious BIG live in Amsterdam,
The Golliwogs,
Barry Ungar,
Public Enemy,
Andrew Hill,
Camouflage,
Audionom,
Cal Tjader,
The Evens,
New Order,
Gerry Rafferty,
The Dirtbombs,
The Vogues,
Wire,
The Associates, The Associates, The Associates, The Associates.
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.