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 Tokyo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar 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 Pierre Henry to the techno kids.
I played it at the Troubador.
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 X-101. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every These Immortal Souls 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Circle Jerks record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Babytalk,
Camouflage,
Black Pus,
Absolute Body Control,
Y Pants,
Radiohead,
Kayak,
The Fuzztones,
Duran Duran,
Bobby Hutcherson,
New York Dolls,
Roy Ayers,
Rotary Connection,
The Fall,
Grandmaster Flash,
Roger Hodgson,
World's Most,
Unwound,
Urselle,
Joyce Sims,
Dennis Brown,
Barry Ungar,
Magazine,
Siouxsie and the Banshees,
Stockholm Monsters,
UT,
Panda Bear,
Man Parrish,
Scan 7,
Joey Negro,
Fat Boys,
Rapeman,
Janne Schatter,
Connie Case,
Slave,
Gerry Rafferty,
Andrew Ashong & Theo Parrish,
The Chocolate Watch Band,
Ken Boothe,
New Order,
Nation of Ulysses,
Anthony Braxton,
Eric Copeland,
Dave Gahan,
kango's stein massive,
Ponytail,
Spoonie Gee,
Pagans,
The Doors,
One Last Wish,
Maleditus Sound,
Jesper Dahlback,
Deadbeat,
Wings,
Neil Young,
Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Sun City Girls,
Subhumans,
Symarip,
Radiopuhelimet,
John Lydon,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.