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 Micronesia and from Stockholm.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Spokane.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the mellotron 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 The Alarm Clocks to the dance 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 The Tremeloes. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Moss Icon 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Ultravox,
Art Ensemble Of Chicago,
Jeff Mills,
Young Marble Giants,
the Human League,
Animal Collective,
Avey Tare,
The United States of America,
Ken Boothe,
Sex Pistols,
Altered Images,
Franke,
Kas Product,
The Barracudas,
Fluxion,
De La Soul & Jungle Brothers,
Man Parrish,
Monks,
The American Breed,
Average White Band,
Slave,
Negative Approach,
Joe Smooth,
John Lydon,
Television,
The Golliwogs,
Grandmaster Flash and the Furious Five,
Toni Rubio,
Roy Ayers Ubiquity,
Scratch Acid,
Pantytec,
The Angels of Light,
World's Most,
The Fortunes,
Slick Rick,
New York Dolls,
Black Bananas,
Glambeats Corp.,
Yellowson,
Wire,
DNA,
L. Decosne,
David Bowie,
Spoonie Gee,
Sun Ra Arkestra,
Frankie Knuckles,
The Neon Judgement,
Metal Thangz,
Eddi Front,
Unwound,
Funkadelic,
Main Source,
Swell Maps,
The Sound,
Index,
The Royal Family And The Poor,
Laurel Aitken,
Peter & Gordon,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.