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 Tuvalu and from Cairo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Amon Düül II to the techno kids.
I played it at the 40 Watt.
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 Electric Light Orchestra. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Dennis Brown 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 '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Soft Machine,
Electric Prunes,
Sugar Minott,
Jawbox,
Niagra,
Black Sheep,
The American Breed,
Ornette Coleman,
MC5,
ABBA,
Joensuu 1685,
The Slits,
Don Cherry,
Thompson Twins,
June of 44,
The Seeds,
Marc Romboy vs. Booka Shade,
Ken Boothe,
Jacob Miller,
Mars,
The United States of America,
the Soft Cell,
Mo-Dettes,
Kool G Rap & DJ Polo,
Alice Coltrane,
The Flesh Eaters,
Clear Light,
The Barracudas,
Ronnie Foster,
Bootsy's Rubber Band,
The Divine Comedy,
U.S. Maple,
Kayak,
The Vogues,
The Invisible,
Heaven 17,
Man Eating Sloth,
The Cramps,
The Fortunes,
Amon Düül II,
The Doors,
Faraquet,
June Days,
The Last Poets,
Franke,
the Swans,
Infiniti,
Crime,
Gang Gang Dance,
Strawberry Alarm Clock,
Dr. Dre and Snoop Doggy Dog,
Thinking Fellers Union Local 282,
The Busters,
Depeche Mode,
Deutsch Amerikanische Freundschaft,
Black Flag,
Eddi Front,
Crispy Ambulance,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.