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 Lebanon and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Bologna.
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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron 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 Bronski Beat to the electroclash kids.
I played it at Trash.
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 Bad Manners. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Circle Jerks,
OOIOO,
Intrusion,
Alphaville,
Technova,
The Count Five,
The Names,
Lizzy Mercier Descloux,
Jandek,
Lalann,
Gil Scott-Heron and Jamie xx,
Girls At Our Best!,
Brothers Johnson,
Alice Coltrane,
Sad Lovers and Giants,
Smog,
Echospace,
Eddi Front,
Donald Byrd,
Piero Umiliani,
Deadbeat,
Ultramagnetic MC's,
Byron Stingily,
The Residents,
Mary Jane Girls,
Godley & Creme,
The Gories,
The Birthday Party,
Massinfluence,
Slave,
This Heat,
Ultravox,
Popol Vuh,
The Golliwogs,
Kauko Röyhkä ja Narttu,
The Fuzztones,
Average White Band,
ABBA,
Buzzcocks,
Eric B and Rakim,
Desert Stars,
Model 500,
Gerry Rafferty,
Fugazi,
Lakeside,
China Crisis,
The Moleskins,
Young Marble Giants,
Cameo,
Stockholm Monsters,
Spandau Ballet,
Tim Buckley,
Judy Mowatt,
Funky Four + One,
Bill Wells,
Sun Ra Arkestra,
Henry Cow,
Sarah Menescal,
John Holt,
T. Rex,
Faust,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.