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 Djibouti and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school London 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the synthesizer 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 Harmonia to the electroclash kids.
I played it at the Troubador.
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 Oblivians. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Slackers 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Marcia Griffiths,
The Walker Brothers,
Bootsy's Rubber Band,
Black Bananas,
The Smiths,
The Toasters,
The Vogues,
Gang Gang Dance,
Banda Bassotti,
Loose Ends,
Angels of Light & Akron/Family,
Skaos,
Alice Coltrane,
Slick Rick,
Crime,
Amon Düül,
Ten City,
Pantaleimon,
The Invisible,
Lou Reed & John Cale,
Outsiders,
The Fortunes,
Urselle,
Buzzcocks,
Matthew Halsall,
Bobby Sherman,
Marc Almond,
Lalo Schifrin,
Ossler,
The Music Machine,
Jandek,
Excepter,
Interpol,
The West Coast Pop Art Experimental Band,
John Cale,
Absolute Body Control,
B.T. Express,
Kenny Larkin,
Bauhaus,
Dawn Penn,
Scientists,
Bobby Byrd,
Make Up,
Clear Light,
Jeff Lynne,
Fear,
X-102,
Roy Ayers Ubiquity,
Cluster,
Avey Tare's Slasher Flicks,
Boredoms,
Ituana,
The Men They Couldn't Hang,
Arab on Radar,
Mary Jane Girls,
Dorothy Ashby,
Hashim,
AZ,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.