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 Bhutan and from Sao Paulo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 The Offenders to the rock 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 The Last Poets. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
D'Angelo,
The Alarm Clocks,
Eric B and Rakim,
Amon Düül,
La Düsseldorf,
Angry Samoans,
Major Organ And The Adding Machine,
Essential Logic,
Johnny Clarke,
Country Joe & The Fish,
T. Rex,
Althea and Donna,
Be Bop Deluxe,
The Smoke,
Aural Exciters,
Lucky Dragons,
The Fall,
Lakeside,
Bush Tetras,
Ultimate Spinach,
Girls At Our Best!,
Gil Scott-Heron and Jamie xx,
L. Decosne,
F. McDonald,
Eddi Front,
Traffic Nightmare,
X-Ray Spex,
Fatback Band,
Saccharine Trust,
Intrusion,
Ornette Coleman,
Shuggie Otis,
Oneida,
Michelle Simonal,
The Slackers,
Rowland S Howard / Lydia Lunch,
Wolf Eyes,
Malaria!,
Wire,
The Misunderstood,
London Community Gospel Choir,
De La Soul & Jungle Brothers,
Q65,
Scott Walker + Sunn O))),
Orchestral Manoeuvres in the Dark,
Quantec,
Audionom,
Y Pants,
Monks,
Alton Ellis,
The Last Poets,
Grandmaster Flash and the Furious Five,
Sällskapet,
Kaleidoscope,
Television,
Peter & Gordon,
LL Cool J,
Piero Umiliani,
The Leaves,
Minutemen,
The Index, The Index, The Index, The Index.
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.