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 Belgium and from London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Coltrane to the rap kids.
I played it at CBGB's.
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 Organ. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Pretty Things,
Girls At Our Best!,
U.S. Maple,
The Sound,
X-102,
FM Einheit,
AZ,
Can,
Ituana,
Suicide,
Godley & Creme,
Kerri Chandler,
Avey Tare's Slasher Flicks,
John Coltrane,
Sarah Menescal,
Vainqueur,
MDC,
Stiv Bators,
Kurtis Blow,
Rosa Yemen,
Ultra Naté,
the Bar-Kays,
Gastr Del Sol,
Manfred Mann's Earth Band,
Erasure,
Neu!,
Alison Limerick,
Joey Negro,
Nation of Ulysses,
Henry Cow,
Gang Green,
Bobby Hutcherson,
Siouxsie and the Banshees,
Brand Nubian,
Procol Harum,
Idris Muhammad,
Bizarre Inc.,
Selector Dub Narcotic,
Blancmange,
Neil Young,
Toni Rubio,
Althea and Donna,
Fluxion,
The Gladiators,
Monolake,
Lebanon Hanover,
Pharaoh Sanders and the Fire Engines,
Soft Machine,
Blossom Toes,
Derrick May,
The Misunderstood,
Rhythm & Sound,
Niagra,
Lonnie Liston Smith,
Popol Vuh,
These Immortal Souls,
Juan Atkins,
The Pop Group,
Ponytail,
DJ Sneak,
Underground Resistance,
Stockholm Monsters,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.