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 Haiti and from Johannesburg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Johnny Osbourne to the grunge kids.
I played it at the Hacienda.
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 Supertramp. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Bang On A Can 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 '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Crooked Eye,
Mr. Review,
the Soft Cell,
Be Bop Deluxe,
Pulsallama,
Soft Machine,
Barbara Tucker,
Barry Ungar,
Circle Jerks,
The Count Five,
Kool G Rap & DJ Polo,
New Age Steppers,
Angry Samoans,
Average White Band,
The Angels of Light,
James Chance & The Contortions,
Accadde A,
Gang of Four,
Harmonia,
Marc Almond,
Kango’s Stein Massive,
Lee Hazlewood,
Minny Pops,
The Sound,
Procol Harum,
Dawn Penn,
Quadrant,
Minnie Riperton,
Tim Buckley,
Ornette Coleman,
Newcleus,
48th St. Collective,
The Monochrome Set,
The Doors,
Chrome,
Marc Romboy vs. Booka Shade,
Faust,
E-Dancer,
The Beau Brummels,
Joe Finger,
Godley & Creme,
Pharaoh Sanders and the Fire Engines,
Hasil Adkins,
DNA,
Arab on Radar,
Avey Tare's Slasher Flicks,
Connie Case,
Erykah Badu,
Gang Gang Dance,
Sly & The Family Stone,
F. McDonald,
Grauzone,
Tres Demented,
Thompson Twins,
Roxy Music,
X-102,
Brothers Johnson,
Skaos,
Fugazi,
The Residents,
Kayak,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.