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 Uruguay and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet 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 Lou Reed & John Cale to the punk kids.
I played it at Cafe Wha.
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 Ohio Players. All the underground hits.
All June Days tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Count Five,
Hoover,
48th St. Collective,
The Smoke,
OOIOO,
La Düsseldorf,
Nas,
The Doors,
Roy Ayers,
Richard Hell and the Voidoids,
The Fuzztones,
Be Bop Deluxe,
Curtis Mayfield,
Tommy Roe,
Minnie Riperton,
Warren Ellis,
James Chance & The Contortions,
the Fania All-Stars,
New York Dolls,
The Move,
Eli Mardock,
The Busters,
The Gap Band,
Kayak,
Terrestrial Tones,
Steve Hackett,
Jesper Dahlback,
Juan Atkins,
Marcia Griffiths,
Lou Reed,
Excepter,
Kool Moe Dee,
The Evens,
Funkadelic,
Gregory Isaacs,
Severed Heads,
Danielle Patucci,
Pharoah Sanders,
Boredoms,
James White and The Blacks,
Eric Dolphy,
The Litter,
Vainqueur,
Duran Duran,
Gerry Rafferty,
Liliput,
Electric Prunes,
The Mojo Men,
Bill Near,
Blossom Toes,
Ash Ra Tempel,
The Sonics,
Fluxion,
John Holt,
the Swans,
Cymande,
Rites of Spring,
Bill Wells,
Kevin Saunderson,
New Age Steppers,
The Sound,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.