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 Guyana and from Delhi.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Glasgow 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the clarinet 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 Cluster to the rap 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Ultravox 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Panda Bear,
Wings,
Siouxsie and the Banshees,
Hot Snakes,
The West Coast Pop Art Experimental Band,
Flash Fearless,
The Fugs,
The Victims,
Mary Jane Girls,
Neu!,
The Young Rascals,
Arab on Radar,
Peter and Kerry,
Kas Product,
Piero Umiliani,
Quando Quango,
Swell Maps,
Chrome,
Blake Baxter,
Pierre Henry,
Todd Rundgren,
London Community Gospel Choir,
Reuben Wilson,
Mars,
Ronnie Foster,
Shoche,
Shuggie Otis,
The Count Five,
The Kinks,
Das Ding,
Swans,
Ken Boothe,
Albert Ayler,
Ornette Coleman,
Connie Case,
a-ha,
K-Klass,
Brothers Johnson,
Royal Trux,
Neil Young,
Scott Walker,
Japan,
Crispy Ambulance,
The United States of America,
Cameo,
Nas,
Icehouse,
Malaria!,
Circle Jerks,
Negative Approach,
Robert Wyatt,
Godley & Creme,
AZ,
MDC,
Angry Samoans,
Lucky Dragons,
Unrelated Segments,
The Skatalites,
The Mummies,
Dark Day,
Model 500,
John Lydon,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.