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 Libya and from Salvador.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 oboe sounds with much patience.
I was there when Donald Fagen 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 The Barracudas to the rock 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 EPMD. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Q65,
John Holt,
It's A Beautiful Day,
James White and The Blacks,
Mark Hollis,
Sticky Fingaz feat. Raekwon,
Hashim,
The Music Machine,
The Pretty Things,
Barry Ungar,
Sandy B,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
EPMD,
Easy Going,
Mad Mike,
The Velvet Underground,
Masters at Work,
Maurizio,
Quadrant,
Babytalk,
Surgeon,
Lizzy Mercier Descloux,
Spandau Ballet,
Rahsaan Roland Kirk,
Japan,
New York Dolls,
the Slits,
Ossler,
Silicon Teens,
Iggy Pop,
The Toasters,
The Seeds,
Unwound,
Notorious BIG live in Amsterdam,
Eric Copeland,
Susan Cadogan,
Bad Manners,
Oppenheimer Analysis,
The Flesh Eaters,
Neil Young & Crazy Horse,
Royal Trux,
Sad Lovers and Giants,
Drexciya,
Judy Mowatt,
David McCallum,
Marine Girls,
Television Personalities,
Patti Smith,
Albert Ayler,
Erykah Badu,
Bobby Womack,
The Divine Comedy,
The Modern Lovers,
Reagan Youth,
Bush Tetras,
Bobby Hutcherson,
The Peanut Butter Conspiracy,
Boz Scaggs,
Angry Samoans,
Jesper Dahlback,
Subhumans, Subhumans, Subhumans, Subhumans.
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.