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 Spain and from Cairo.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 Sparks to the rock 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 Jacob Miller. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Brothers Johnson,
Pussy Galore,
John Coltrane,
Charles Mingus,
The New Christs,
Byron Stingily,
Althea and Donna,
Lou Reed & John Cale,
Wings,
The Index,
Amazonics,
The Detroit Cobras,
Fat Boys,
Second Layer,
Stereo Dub,
Ornette Coleman,
The Names,
The Velvet Underground,
Urselle,
Lower 48,
Mo-Dettes,
The Pretty Things,
Accadde A,
The Motions,
Bobby Byrd,
Pagans,
Sonic Youth,
Avey Tare,
Dr. Dre and Snoop Doggy Dog,
The Real Kids,
Rites of Spring,
Los Fastidios,
Unwound,
Darondo,
The Sisters of Mercy,
Crash Course in Science,
Alphaville,
The Divine Comedy,
The Evens,
Eli Mardock,
Mary Jane Girls,
Joe Finger,
Leonard Cohen,
The Star Department,
Drive Like Jehu,
Fad Gadget,
The Golliwogs,
Eric Dolphy,
Gang of Four,
Todd Terry,
Sixth Finger,
Sexual Harrassment,
X-Ray Spex,
The Five Americans,
Erasure,
E-Dancer,
Jacob Miller,
UT,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines,
Barry Ungar,
Art Ensemble Of Chicago,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.