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 Norway and from Bremen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Spokane and Cairo.
I'm losing my edge to the art-school Mexico City 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 Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Wasted Youth to the techno kids.
I played it at the Astoria.
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 Joensuu 1685. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Unrelated Segments,
Kerri Chandler,
Jesper Dahlbäck,
Khruangbin,
Soulsonic Force,
Arcadia,
The Litter,
Matthew Bourne,
Sun Ra Arkestra,
Average White Band,
Easy Going,
Pete Rock & C.L. Smooth,
The Motions,
The Jesus and Mary Chain,
Chris & Cosey,
Kurtis Blow,
John Holt,
Blancmange,
Basic Channel,
Country Teasers,
Marshall Jefferson,
Isaac Hayes,
Sexual Harrassment,
Swell Maps,
Aloha Tigers,
Yusef Lateef,
Angry Samoans,
Warsaw,
Mr. Review,
Letta Mbulu,
Crispy Ambulance,
OOIOO,
The Sisters of Mercy,
Louis and Bebe Barron,
Brand Nubian,
The Fire Engines,
The Sound,
Bizarre Inc.,
A Flock of Seagulls,
John Lydon,
Maleditus Sound,
Todd Rundgren,
Minor Threat,
Eric Copeland,
CMW,
Scratch Acid,
The Gories,
The Alarm Clocks,
Morten Harket,
A Certain Ratio,
Mark Hollis,
Bobby Sherman,
U.S. Maple,
Harry Pussy,
Vladislav Delay,
Laurel Aitken,
Das Ding,
Whodini,
Eli Mardock,
Bad Manners,
The Human League,
Sixth Finger,
Harmonia, Harmonia, Harmonia, Harmonia.
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.