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 Nauru and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 James White and The Blacks to the techno kids.
I played it at the Troubador.
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 Harpers Bizarre. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Gastr Del Sol 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 Happenings,
Matthew Halsall,
June of 44,
ABC,
Soft Machine,
Flash Fearless,
Soul Sonic Force,
Curtis Mayfield,
Stereo Dub,
Animal Collective,
Little Man,
Vainqueur,
Alison Limerick,
Underground Resistance,
John Foxx,
Junior Murvin,
Monolake,
The J.B.'s,
Ossler,
La Düsseldorf,
Gichy Dan,
The Invisible,
The Doobie Brothers,
Avey Tare's Slasher Flicks,
Gregory Isaacs,
PIL,
The Raincoats,
Procol Harum,
Minny Pops,
Loose Ends,
Circle Jerks,
Roxette,
The Gun Club,
The Pretty Things,
The Trojans,
Electric Light Orchestra,
The Seeds,
Oblivians,
Audionom,
Wighnomy Brothers & Robag Wruhme,
This Heat,
Max Romeo,
The Mummies,
Bobby Sherman,
Throbbing Gristle,
Arthur Verocai,
Joensuu 1685,
Gil Scott-Heron & Brian Jackson,
Tears for Fears,
The Music Machine,
Blake Baxter,
Pantytec,
Panda Bear,
The Velvet Underground,
Donald Byrd,
X-101,
Spandau Ballet,
Deadbeat,
Sällskapet,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.