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 Suriname and from Manila.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Edmonton 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 marimba 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 Bootsy Collins to the electroclash kids.
I played it at the Spitz.
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 Erasure. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Bobbi Humphrey,
The Tremeloes,
Marvin Gaye,
Barclay James Harvest,
Lou Reed,
Saccharine Trust,
Pussy Galore,
The Velvet Underground,
Rhythim Is Rhythim,
Barbara Tucker,
Dead Boys,
Sly & The Family Stone,
Mandrill,
Glenn Branca,
The Flesh Eaters,
Camouflage,
Gang Green,
Shuggie Otis,
Depeche Mode,
The American Breed,
K-Klass,
Cecil Taylor,
David McCallum,
The Doors,
Louis and Bebe Barron,
The Mojo Men,
Tubeway Army,
The Barracudas,
Lalann,
Charles Mingus,
Brothers Johnson,
The Gories,
Amon Düül II,
John Coltrane,
Al Stewart,
The Neon Judgement,
Mad Mike,
Audionom,
Yellowson,
Mark Hollis,
Minor Threat,
Avey Tare,
X-101,
Rhythm & Sound,
Super Lover Cee & Casanova Rud,
Graham Central Station,
Major Organ And The Adding Machine,
Second Layer,
Dawn Penn,
Wasted Youth,
Jesper Dahlback,
New Age Steppers,
The Selecter,
Josef K,
B.T. Express,
Kayak,
Deutsch Amerikanische Freundschaft,
Maleditus Sound,
Bad Manners,
Pere Ubu,
Rod Modell,
Alison Limerick,
Main Source, Main Source, Main Source, Main Source.
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.