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 South Sudan and from Lyon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Tehran 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 mellotron 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 Adolescents to the rock 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 Lizzy Mercier Descloux. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every MDC 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Jeff Mills,
Fad Gadget,
MC5,
Harmonia,
Peter and Kerry,
Susan Cadogan,
Public Image Ltd.,
Bootsy Collins,
Young Marble Giants,
Be Bop Deluxe,
Letta Mbulu,
Soul Sonic Force,
Kaleidoscope,
DeepChord presents Echospace,
Gang of Four,
Liaisons Dangereuses,
Glenn Branca,
Brothers Johnson,
Pylon,
Thee Headcoats,
The Sisters of Mercy,
Tropical Tobacco,
DJ Style,
Cheater Slicks,
Masters at Work,
Aaron Thompson,
Heaven 17,
The Mighty Diamonds,
Trumans Water,
Au Pairs,
Funkadelic,
Faust,
One Last Wish,
Warren Ellis,
Monks,
Aural Exciters,
The Move,
Cecil Taylor,
Wings,
Throbbing Gristle,
LL Cool J,
Juan Atkins,
Pere Ubu,
Avey Tare & Kría Brekkan,
Radiopuhelimet,
The Golliwogs,
T. Rex,
Kauko Röyhkä ja Narttu,
Kerri Chandler,
Barclay James Harvest,
Radio Birdman,
Tim Buckley,
Delta 5,
Joy Division,
DNA,
Delon & Dalcan,
Peter & Gordon,
the Association,
The Cramps,
Metal Thangz,
Peter Gordon & Love of Life Orchestra,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.