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 United Kingdom and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Portland.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Make Up to the grunge kids.
I played it at the 40 Watt.
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 These Immortal Souls. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Main Source,
Gabor Szabo,
Deadbeat,
The Cowsills,
Scratch Acid,
Joensuu 1685,
The Index,
Lafayette Afro Rock Band,
Funkadelic,
Yellowson,
Thee Headcoats,
Gil Scott-Heron & Brian Jackson,
The Zeros,
Oppenheimer Analysis,
Thompson Twins,
Crooked Eye,
Eddi Front,
Soul Sonic Force,
Aloha Tigers,
Zero Boys,
John Foxx,
The Raincoats,
X-102,
Maleditus Sound,
PIL,
Beasts of Bourbon,
Man Parrish,
Inner City,
Bronski Beat,
Qualms,
The Stooges,
Silicon Teens,
Sly & The Family Stone,
Wings,
Shoche,
The Busters,
The Angels of Light,
Graham Central Station,
The Invisible,
The Count Five,
Peter and Kerry,
Todd Rundgren,
The United States of America,
The Alarm Clocks,
T.S.O.L.,
Desert Stars,
Rhythim Is Rhythim,
Juan Atkins,
Gastr Del Sol,
Boz Scaggs,
Public Enemy,
Aural Exciters,
The Durutti Column,
Ash Ra Tempel,
Jacques Brel,
Sällskapet,
Tomorrow,
The Kinks,
Y Pants,
Alice Coltrane,
Bad Manners,
The Knickerbockers,
Amon Düül II,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.