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 Palau and from Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Milan 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 synthesizer 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 Gil Scott-Heron & Brian Jackson to the disco kids.
I played it at CBGB's.
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 Patti Smith. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Shoche 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Q and Not U,
F. McDonald,
Blancmange,
Harmonia,
Roy Ayers,
The Skatalites,
Sarah Menescal,
Suicide,
Accadde A,
Bang On A Can,
David Bowie,
Mark Hollis,
Rekid,
Barbara Tucker,
Aural Exciters,
David Axelrod,
Michelle Simonal,
Icehouse,
The Sound,
The Fire Engines,
Swell Maps,
The Fortunes,
Lee Hazlewood,
Nico,
The Flesh Eaters,
Notorious BIG live in Amsterdam,
Sun Ra Arkestra,
Swans,
Black Moon,
Man Parrish,
The Shadows of Knight,
The Jesus and Mary Chain,
AZ,
Public Enemy,
Pulsallama,
Simply Red,
Minny Pops,
Lou Reed & Metallica,
ABC,
It's A Beautiful Day,
The Gap Band,
ABBA,
Das Ding,
Mandrill,
The Names,
Niagra,
Curtis Mayfield,
Panda Bear,
the Germs,
Bad Manners,
Angels of Light & Akron/Family,
Sun City Girls,
The Pretty Things,
Gary Puckett & The Union Gap,
Soft Cell,
K-Klass,
Organ,
Alison Limerick,
The Modern Lovers,
Gil Scott Heron,
Sun Ra,
Brand Nubian,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.