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 Guinea and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 oboe sounds with much patience.
I was there when Donald Fagen 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 David Bowie to the funk kids.
I played it at Cafe Wha.
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 Alison Limerick. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Kerrie Biddell,
Sam Rivers,
Major Organ And The Adding Machine,
Kas Product,
Radiopuhelimet,
Royal Trux,
Nas,
Jacob Miller,
Underground Resistance,
Au Pairs,
The Pretty Things,
John Coltrane,
Avey Tare,
Massinfluence,
Faraquet,
Lalann,
The Doors,
Gian Franco Pienzio,
Pulsallama,
Red Lorry Yellow Lorry,
The Smiths,
Dark Day,
The United States of America,
Quando Quango,
Traffic Nightmare,
Lizzy Mercier Descloux,
Brothers Johnson,
Vladislav Delay,
The Index,
Babytalk,
Moebius,
Slave,
Q and Not U,
The Stooges,
The Count Five,
Rufus Thomas,
Silicon Teens,
Joyce Sims,
Technova,
Ultravox,
Alton Ellis,
Livin' Joy,
Fear,
Eddi Front,
Pete Rock & C.L. Smooth,
Loose Ends,
Japan,
Vainqueur,
Thee Headcoats,
Godley & Creme,
The Motions,
The Human League,
Scrapy,
Jimmy McGriff,
Zero Boys,
Groovy Waters,
Easy Going,
Nico,
K-Klass,
The Selecter,
Don Cherry,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.