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 Lesotho and from New York.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Shanghai 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 guitar 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 John Holt to the electroclash kids.
I played it at the Roxy.
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 Roy Ayers Ubiquity. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Quadrant,
Dennis Brown,
Nirvana,
Thee Headcoats,
Sticky Fingaz feat. Raekwon,
Desert Stars,
Swell Maps,
The United States of America,
Terry Callier,
The Birthday Party,
Sunsets and Hearts,
Q and Not U,
The Saints,
Robert Görl,
Duran Duran,
Infiniti,
Johnny Osbourne,
B.T. Express,
Public Image Ltd.,
Organ,
The Detroit Cobras,
Teenage Jesus and the Jerks,
London Community Gospel Choir,
Gastr Del Sol,
Bob Dylan,
Sällskapet,
Siglo XX,
Q65,
Judy Mowatt,
The Misunderstood,
Moby Grape,
Wings,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Amon Düül,
Sad Lovers and Giants,
Lightning Bolt,
The Dead C,
Lonnie Liston Smith,
The Standells,
Banda Bassotti,
Oppenheimer Analysis,
The Mummies,
Joy Division,
Avey Tare,
Fugazi,
Aaron Thompson,
Fela Kuti,
Ornette Coleman,
La Düsseldorf,
Main Source,
Big Daddy Kane,
Donald Byrd,
The Beau Brummels,
The Fall,
Loose Ends,
The Grass Roots,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.