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 Germany and from Tehran.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 New York Dolls to the punk kids.
I played it at the Crocodile.
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 Siouxsie and the Banshees. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Soul II Soul,
Theoretical Girls,
Lindisfarne,
Blake Baxter,
Magma,
The Electric Prunes,
Nirvana,
Roger Hodgson,
Brass Construction,
The Black Dice,
Sound Behaviour,
This Heat,
Slave,
Liaisons Dangereuses,
The Names,
Peter and Kerry,
Gary Puckett & The Union Gap,
cv313,
Parry Music,
Excepter,
Drive Like Jehu,
Glenn Branca,
Boz Scaggs,
Underground Resistance,
Lyres,
The Mighty Diamonds,
Section 25,
The Gories,
The Sisters of Mercy,
Marcia Griffiths,
Gichy Dan,
Sarah Menescal,
Susan Cadogan,
Eyeless In Gaza,
Jandek,
Fort Wilson Riot,
Smog,
Faraquet,
James White and The Blacks,
Barclay James Harvest,
The Smoke,
Fluxion,
Junior Murvin,
Swans,
It's A Beautiful Day,
The Motions,
Nation of Ulysses,
Pierre Henry,
Khruangbin,
The Litter,
The Associates,
Pagans,
Sugar Minott,
JFA,
Eli Mardock,
Tim Buckley,
KRS-One,
Silicon Teens,
Swell Maps,
Gian Franco Pienzio,
Joe Smooth,
Hot Snakes,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.