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 Slovenia and from Copenhagen.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 MC5 to the rock kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen 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?
The Martian,
Laurel Aitken,
Blossom Toes,
Alton Ellis,
Tom Boy,
Joey Negro,
Charles Mingus,
Black Sheep,
Terror Squad Feat. Camron,
Trumans Water,
Kurtis Blow,
The Electric Prunes,
Unwound,
Isaac Hayes,
Masters at Work,
Maleditus Sound,
Lou Christie,
Visionaries,LMNO, T- Love & Iriscience,
Justin Hinds & The Dominoes,
The Birthday Party,
Rowland S Howard / Lydia Lunch,
Oppenheimer Analysis,
Bang On A Can,
Nas,
Bluetip,
Bobby Sherman,
Robert Wyatt,
This Heat,
Bob Dylan,
The Index,
The Victims,
Bang on a Can All-Stars,
Orchestral Manoeuvres in the Dark,
Pharoah Sanders,
Ludus,
Yaz,
Grandmaster Flash,
Thompson Twins,
The Young Rascals,
Larry & the Blue Notes,
Heaven 17,
Ultravox,
The Cosmic Jokers,
Subhumans,
Byron Stingily,
Funky Four + One,
Moebius,
T.S.O.L.,
Porter Ricks,
X-Ray Spex,
The Velvet Underground,
The Zeros,
Electric Light Orchestra,
Roy Ayers Ubiquity,
Zero Boys,
Tubeway Army,
Gastr Del Sol,
Lonnie Liston Smith,
Organ, Organ, Organ, Organ.
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.