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 Bangladesh and from Taipei.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Philadelphia 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Nico to the jazz 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 The Knickerbockers. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Amon Düül II 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Lou Reed,
The Selecter,
Major Organ And The Adding Machine,
Ajijia Myrayebe,
Man Parrish,
Lucky Dragons,
Black Sheep,
DeepChord presents Echospace,
The Smoke,
Stetsasonic,
Kool Moe Dee,
Althea and Donna,
Public Image Ltd.,
Vladislav Delay,
Minutemen,
Motorama,
The New Christs,
Half Japanese,
Neu!,
Tomorrow,
Country Teasers,
Fear,
The Black Dice,
Index,
Selector Dub Narcotic,
Lizzy Mercier Descloux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nils Olav,
Darondo,
Tom Boy,
Gang of Four,
Terry Callier,
David McCallum,
The Knickerbockers,
Niagra,
Rakim,
Rufus Thomas,
The Mojo Men,
The Count Five,
Super Lover Cee & Casanova Rud,
Jeff Lynne,
Brick,
Urselle,
Oppenheimer Analysis,
The Residents,
The Trojans,
Quantec,
The Detroit Cobras,
Kurtis Blow,
Magazine,
Surgeon,
Gil Scott Heron,
Dual Sessions,
Bill Wells,
The Cure,
Josef K,
Animal Collective,
Loose Ends,
Wings,
Cybotron, Cybotron, Cybotron, Cybotron.
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.