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 Liberia 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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Columbus 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 clarinet 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 The Walker Brothers to the crunk kids.
I played it at the Roxy.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
The Gladiators,
Chris & Cosey,
Supertramp,
Newcleus,
John Lydon,
Gerry Rafferty,
Basic Channel,
Tubeway Army,
Lonnie Liston Smith,
Alice Coltrane,
Infiniti,
Kenny Larkin,
Brothers Johnson,
Eli Mardock,
Moebius,
Wolf Eyes,
the Slits,
Pantaleimon,
Mad Mike,
Urselle,
Radiopuhelimet,
Nick Cave & The Bad Seeds,
Fat Boys,
Oppenheimer Analysis,
The Dave Clark Five,
Joe Finger,
Frankie Knuckles,
Interpol,
Kauko Röyhkä ja Narttu,
The Blues Magoos,
the Association,
Eden Ahbez,
The Offenders,
The Happenings,
Spoonie Gee,
Larry & the Blue Notes,
Cecil Taylor,
Reuben Wilson,
The Slackers,
Judy Mowatt,
AZ,
Quadrant,
Gang of Four,
Flipper,
Pere Ubu,
X-101,
Electric Prunes,
Television Personalities,
Organ,
In Retrospect,
Marc Romboy vs. Booka Shade,
Model 500,
Pete Rock & C.L. Smooth,
Avey Tare's Slasher Flicks,
CMW,
The Techniques,
A Flock of Seagulls,
Quantec,
The Five Americans,
Sun City Girls,
This Heat, This Heat, This Heat, This Heat.
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.