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 Italy and from Winnipeg.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Milan 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Terry Callier 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 Pere Ubu. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Electric Light Orchestra,
Scratch Acid,
Make Up,
The Alarm Clocks,
Magazine,
Ten City,
The Sonics,
Archie Shepp,
Todd Terry,
Jacob Miller,
Lalann,
La Düsseldorf,
Cabaret Voltaire,
Alphaville,
Au Pairs,
Terry Callier,
Rod Modell,
Sandy B,
Yaz,
Amazonics,
Eric Dolphy,
Peter and Kerry,
Lyres,
Donald Byrd,
EPMD,
Bobbi Humphrey,
Zapp,
Sonny Sharrock,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
Black Bananas,
The Doobie Brothers,
Kayak,
The Red Krayola,
A Certain Ratio,
Unwound,
The Misunderstood,
Alison Limerick,
The Kinks,
The Tremeloes,
Gil Scott Heron,
Howard Jones,
The Shadows of Knight,
Sixth Finger,
Soul II Soul,
Susan Cadogan,
Gabor Szabo,
Von Mondo,
Wolf Eyes,
The American Breed,
Kenny Larkin,
Sister Nancy,
Nas,
Matthew Halsall,
David Axelrod,
Sight & Sound,
Main Source,
Jawbox,
Pylon,
Stetsasonic,
Nils Olav,
Skaos, Skaos, Skaos, Skaos.
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.