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 Sierra Leone and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Accra 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Pylon to the techno kids.
I played it at the Troubador.
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 Eyeless In Gaza. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Beasts of Bourbon,
Amon Düül II,
Procol Harum,
Bluetip,
Scott Walker,
Brass Construction,
Bang On A Can,
T.S.O.L.,
Q and Not U,
The Cosmic Jokers,
Todd Rundgren,
Lafayette Afro Rock Band,
Nils Olav,
Ultravox,
Magazine,
Liaisons Dangereuses,
Infiniti,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Robert Wyatt,
Marcia Griffiths,
June of 44,
The Alarm Clocks,
Magma,
Fugazi,
The Men They Couldn't Hang,
Q65,
The Black Dice,
Moebius,
the Fania All-Stars,
The Mojo Men,
Sonic Youth,
Pierre Henry,
Hot Snakes,
This Heat,
Royal Trux,
The Red Krayola,
Lakeside,
The Cure,
Rites of Spring,
Basic Channel,
Angry Samoans,
Neu!,
The Royal Family And The Poor,
Sam Rivers,
Pet Shop Boys,
Todd Terry,
Alison Limerick,
Stiv Bators,
The Peanut Butter Conspiracy,
Notorious BIG live in Amsterdam,
Archie Shepp,
Mad Mike,
Roger Hodgson,
Davy DMX,
Teenage Jesus and the Jerks,
Scan 7,
Lindisfarne,
Gil Scott Heron,
The Wake,
The Sonics,
Joy Division,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.