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 Iraq and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Spokane 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Kaleidoscope to the electroclash kids.
I played it at the 40 Watt.
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 Crooked Eye. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every 10cc 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 '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Loose Ends,
Lightning Bolt,
Radiopuhelimet,
June of 44,
Brass Construction,
Public Image Ltd.,
Das Ding,
Throbbing Gristle,
Joensuu 1685,
John Holt,
DNA,
Chris & Cosey,
The Gories,
KRS-One,
Spandau Ballet,
Porter Ricks,
Supertramp,
Reagan Youth,
Erasure,
Boredoms,
Blake Baxter,
The Associates,
New Age Steppers,
Eurythmics,
Danielle Patucci,
Ludus,
Be Bop Deluxe,
Angry Samoans,
Silicon Teens,
Red Lorry Yellow Lorry,
X-Ray Spex,
Ajijia Myrayebe,
Nico,
Wasted Youth,
The Shadows of Knight,
Barrington Levy,
Jandek,
Gichy Dan,
Lalo Schifrin,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
Bluetip,
Wally Richardson,
Barry Ungar,
The Litter,
Louis and Bebe Barron,
K-Klass,
The Flesh Eaters,
Amazonics,
Piero Umiliani,
Fluxion,
Reuben Wilson,
The Mojo Men,
Sam Rivers,
Gerry Rafferty,
Kas Product,
Underground Resistance,
Fear,
Donald Byrd,
The Remains, The Remains, The Remains, The Remains.
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.