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 India and from Stockholm.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Columbus and Toronto.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 World's Most to the rap 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 Harry Pussy. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
the Bar-Kays,
The Shadows of Knight,
Josef K,
The Slackers,
Loose Ends,
Beasts of Bourbon,
Smog,
Harpers Bizarre,
It's A Beautiful Day,
The Smoke,
Toni Rubio,
Marshall Jefferson,
The Stooges,
The Cosmic Jokers,
Gil Scott Heron,
Negative Approach,
Susan Cadogan,
Peter and Kerry,
Wire,
Avey Tare,
The United States of America,
The Associates,
Gastr Del Sol,
Minnie Riperton,
Man Eating Sloth,
Amon Düül II,
The Grass Roots,
Anthony Braxton,
the Germs,
X-101,
Cecil Taylor,
Procol Harum,
Tubeway Army,
James Chance & The Contortions,
Jawbox,
Radiohead,
Maurizio,
The Music Machine,
48th St. Collective,
Röyhkä ja Rättö ja Lehtisalo,
Technova,
Skaos,
Sam Rivers,
Unrelated Segments,
Tom Boy,
Robert Wyatt,
Arcadia,
E-Dancer,
Soul II Soul,
Ultra Naté,
Sandy B,
The Techniques,
Mark Hollis,
Magazine,
Dual Sessions,
Strawberry Alarm Clock,
Gregory Isaacs,
Ten City,
Fela Kuti,
China Crisis,
Pantaleimon,
Ohio Players,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.