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 Chile and from Houston.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Scratch Acid to the techno kids.
I played it at CBGB's.
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 Crash Course in Science. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Ultra Naté,
Freddie Wadling,
Crash Course in Science,
Ituana,
The Detroit Cobras,
Colin Newman,
the Soft Cell,
Henry Cow,
John Foxx,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
The Cure,
Nick Cave & The Bad Seeds,
Wolf Eyes,
Nils Olav,
Oblivians,
Gary Puckett & The Union Gap,
Godley & Creme,
Audionom,
Altered Images,
Vladislav Delay,
The Remains,
Accadde A,
Eyeless In Gaza,
Bizarre Inc.,
Funkadelic,
Second Layer,
Selector Dub Narcotic,
Bootsy's Rubber Band,
Rhythm & Sound,
Gian Franco Pienzio,
Harpers Bizarre,
Gil Scott Heron,
Joy Division,
Soft Cell,
U.S. Maple,
Guru Guru,
Connie Case,
Sex Pistols,
Thee Headcoats,
Flipper,
Sun Ra,
The Knickerbockers,
Tom Boy,
Stereo Dub,
Magazine,
Eve St. Jones,
Blossom Toes,
H. Thieme,
Skaos,
The Saints,
Fear,
Ossler,
Eric B and Rakim,
Ultramagnetic MC's,
Cheater Slicks,
Dorothy Ashby,
Moebius,
Pagans, Pagans, Pagans, Pagans.
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.