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 Nicaragua and from Stockholm.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Skarface to the funk kids.
I played it at the Crocodile.
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 Cal Tjader. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Sugar Minott 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Pylon,
Electric Light Orchestra,
The Jesus and Mary Chain,
Kurtis Blow,
Bauhaus,
Bootsy Collins,
Camron Feat. Memphis Bleek And Beenie Seigel,
Groovy Waters,
The Count Five,
Liaisons Dangereuses,
Crime,
Hardrive,
Motorama,
The Human League,
Stetsasonic,
Lou Christie,
Lebanon Hanover,
Anthony Braxton,
The Red Krayola,
These Immortal Souls,
Radio Birdman,
Yusef Lateef,
Shuggie Otis,
Absolute Body Control,
The Walker Brothers,
Fear,
The Peanut Butter Conspiracy,
Barclay James Harvest,
The Five Americans,
Swans,
Joensuu 1685,
Robert Hood,
The Trojans,
Gregory Isaacs,
Newcleus,
Fugazi,
Tres Demented,
Spandau Ballet,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
New York Dolls,
Sam Rivers,
Black Pus,
JFA,
Heavy D & The Boyz,
Bobby Sherman,
Major Organ And The Adding Machine,
Skaos,
Cabaret Voltaire,
Qualms,
Graham Central Station,
Neil Young & Crazy Horse,
Kenny Larkin,
Justin Hinds & The Dominoes,
Ken Boothe,
Fifty Foot Hose,
Eric B and Rakim,
Cluster,
Ronan,
Inner City,
The Mojo Men,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.