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 Georgia and from Tokyo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Be Bop Deluxe to the techno 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 Slits. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Accadde A 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Peter Gordon & Love of Life Orchestra,
ABC,
Faust,
The Peanut Butter Conspiracy,
Fifty Foot Hose,
Easy Going,
Sarah Menescal,
Minnie Riperton,
Barrington Levy,
a-ha,
Aswad,
Groovy Waters,
Liliput,
Grandmaster Flash and the Furious Five,
Juan Atkins,
Niagra,
PIL,
Dawn Penn,
Animal Collective,
Eric Dolphy,
The Moleskins,
Underground Resistance,
John Coltrane,
The Moody Blues,
cv313,
Avey Tare's Slasher Flicks,
Mad Mike,
Thompson Twins,
Ultra Naté,
The Doobie Brothers,
Minny Pops,
Sunsets and Hearts,
John Holt,
Kenny Larkin,
Deepchord,
Marc Romboy vs. Booka Shade,
The Angels of Light,
The Move,
The Motions,
Rufus Thomas,
The Alarm Clocks,
The Tremeloes,
Eyeless In Gaza,
Kurtis Blow,
Unrelated Segments,
Visionaries,LMNO, T- Love & Iriscience,
David Bowie,
KRS-One,
Angry Samoans,
Stetsasonic,
Hashim,
Drexciya,
UT,
Bauhaus,
The Velvet Underground,
Lindisfarne,
The Chocolate Watch Band,
Vladislav Delay,
Idris Muhammad,
Jerry Gold Smith,
Tomorrow,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.