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 Bosnia Herzegovina and from Taipei.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Portland 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Ossler to the jazz kids.
I played it at CBGB's.
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 Masters at Work. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Urselle 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Marcia Griffiths,
Peter and Kerry,
The Cowsills,
Kurtis Blow,
Magma,
Harmonia,
Morten Harket,
Porter Ricks,
Traffic Nightmare,
The Slackers,
The Fortunes,
Absolute Body Control,
Gastr Del Sol,
The Birthday Party,
Barrington Levy,
Mantronix,
The Gun Club,
Byron Stingily,
Barbara Tucker,
Neu!,
Soft Cell,
Fad Gadget,
Shuggie Otis,
Mission of Burma,
Blancmange,
Pet Shop Boys,
Guru Guru,
Rotary Connection,
Laurel Aitken,
The Selecter,
Grandmaster Flash and the Furious Five,
Neil Young,
Pharaoh Sanders and the Fire Engines,
Nick Fraelich,
Q65,
The Last Poets,
DNA,
Kool Moe Dee,
Black Pus,
Deakin,
Curtis Mayfield,
Kango’s Stein Massive,
Andrew Hill,
Jesper Dahlback,
Motorama,
Max Romeo,
In Retrospect,
Lou Reed,
Circle Jerks,
Ponytail,
CMW,
Alice Coltrane,
Man Eating Sloth,
Easy Going,
Country Teasers,
Das Ding,
The Wake,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
Maleditus Sound,
John Coltrane,
Supertramp,
Shoche, Shoche, Shoche, Shoche.
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.