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 Yemen and from New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Milan 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Interpol to the rock kids.
I played it at Cafe Wha.
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 David Axelrod. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Marine Girls,
Echospace,
Deepchord,
Ohio Players,
Sex Pistols,
Gerry Rafferty,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Dorothy Ashby,
AZ,
Ash Ra Tempel,
The Gun Club,
Kool G Rap & DJ Polo,
Lee Hazlewood,
Quantec,
Avey Tare's Slasher Flicks,
The Angels of Light,
David McCallum,
Teenage Jesus and the Jerks,
Donald Byrd,
Talk Talk,
Hardrive,
Banda Bassotti,
Marcia Griffiths,
The Motions,
Michelle Simonal,
The Fugs,
The Count Five,
Barclay James Harvest,
Eve St. Jones,
Dawn Penn,
Ludus,
Black Moon,
PIL,
Interpol,
Tomorrow,
Masters at Work,
Spoonie Gee,
Das Ding,
Ten City,
A Certain Ratio,
The Jesus and Mary Chain,
Chrome,
The Standells,
Marc Romboy vs. Booka Shade,
OOIOO,
Drive Like Jehu,
Sister Nancy,
Radiopuhelimet,
Big Daddy Kane,
Eli Mardock,
Sarah Menescal,
Thee Headcoats,
Funky Four + One,
Fat Boys,
The Buckinghams,
Bang on a Can All-Stars,
The Moleskins,
The Slackers,
Make Up,
The Busters, The Busters, The Busters, The Busters.
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.