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 Singapore and from Cairo.
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 Shanghai and Houston.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Ken Boothe to the grunge 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 Justin Hinds & The Dominoes. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Arthur Verocai,
Rahsaan Roland Kirk,
Joensuu 1685,
Black Flag,
Gabor Szabo,
The Beau Brummels,
Drexciya,
Lou Reed & John Cale,
Yazoo,
Barry Ungar,
Lalann,
Manfred Mann's Earth Band,
Pet Shop Boys,
Cymande,
Beasts of Bourbon,
Hot Snakes,
Severed Heads,
Bobby Sherman,
D'Angelo,
The Divine Comedy,
T.S.O.L.,
Danielle Patucci,
The Modern Lovers,
Gil Scott-Heron and Jamie xx,
The Wake,
OOIOO,
Grauzone,
The Cramps,
Pylon,
kango's stein massive,
Tres Demented,
Lee Hazlewood,
the Soft Cell,
Fear,
Tubeway Army,
Aswad,
Fort Wilson Riot,
The Walker Brothers,
Cluster,
Howard Jones,
Jeff Mills,
Moby Grape,
Half Japanese,
Pantaleimon,
The Invisible,
Junior Murvin,
Camouflage,
Make Up,
Alton Ellis,
Qualms,
Metal Thangz,
Crispian St. Peters,
Bronski Beat,
Dark Day,
June of 44,
Clear Light,
John Cale,
Surgeon,
Ten City,
Ronan,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.