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 Honduras and from Bremen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Neil Young to the jazz kids.
I played it at the Astoria.
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 B.T. Express. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Niagra,
Kas Product,
The Pretty Things,
Isaac Hayes,
Charles Mingus,
Ornette Coleman,
Mad Mike,
Excepter,
The Happenings,
Pagans,
Freddie Wadling,
Leonard Cohen,
Boogie Down Productions,
Scott Walker + Sunn O))),
Janne Schatter,
Bill Wells,
Ultravox,
Terrestrial Tones,
Throbbing Gristle,
Gerry Rafferty,
The Sound,
Ten City,
Glenn Branca,
AZ,
Pete Rock & C.L. Smooth,
Lou Reed & Metallica,
Lou Christie,
Alice Coltrane,
Saccharine Trust,
Vainqueur,
Robert Görl,
Half Japanese,
Johnny Osbourne,
Radiopuhelimet,
Kaleidoscope,
Gregory Isaacs,
Bobby Sherman,
Drexciya,
Lou Reed,
Deepchord,
Metal Thangz,
Spandau Ballet,
Rahsaan Roland Kirk,
Althea and Donna,
Morten Harket,
the Human League,
Pylon,
Wire,
Marmalade,
Archie Shepp,
Avey Tare's Slasher Flicks,
Lucky Dragons,
Accadde A,
Erasure,
London Community Gospel Choir,
The New Christs,
Loose Ends,
The Misunderstood,
Country Joe & The Fish,
Section 25,
Organ,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.