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 Peru and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Columbus 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the clarinet 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 The Saints to the jazz kids.
I played it at the 40 Watt.
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 Oppenheimer Analysis. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Frankie Knuckles,
Shoche,
Mr. Review,
Arthur Verocai,
Lyres,
Quando Quango,
Ken Boothe,
The Star Department,
Icehouse,
Bobby Sherman,
The Misunderstood,
Bronski Beat,
Barclay James Harvest,
Soft Machine,
Amon Düül II,
Ludus,
Dawn Penn,
Roy Ayers Ubiquity,
Kenny Larkin,
June Days,
Tom Boy,
Ultravox,
Porter Ricks,
Scott Walker,
The Peanut Butter Conspiracy,
Soul Sonic Force,
Kauko Röyhkä ja Narttu,
The Cosmic Jokers,
Sight & Sound,
John Foxx,
The Divine Comedy,
Rosa Yemen,
Con Funk Shun,
kango's stein massive,
Royal Trux,
Von Mondo,
The Doors,
Bill Wells,
Delon & Dalcan,
Jawbox,
DJ Sneak,
Lalo Schifrin,
Alison Limerick,
Mary Jane Girls,
Dark Day,
The Neon Judgement,
Metal Thangz,
Dorothy Ashby,
Pantytec,
Ohio Players,
The Moleskins,
Jandek,
Liaisons Dangereuses,
Zapp,
Freddie Wadling,
Marc Almond,
Siglo XX,
Funkadelic,
Rhythm & Sound,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.