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 Ghana and from Bologna.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Lille 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 mellotron 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 Mojo Men to the grunge 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 Bob Dylan. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Orchestral Manoeuvres in the Dark,
Cabaret Voltaire,
The Fall,
The Durutti Column,
Underground Resistance,
The Slits,
The Searchers,
Parry Music,
Hasil Adkins,
Amazonics,
Yazoo,
Gregory Isaacs,
The Neon Judgement,
Big Daddy Kane,
Bronski Beat,
Amon Düül II,
Visionaries,LMNO, T- Love & Iriscience,
The Wake,
Soft Machine,
Sparks,
Pharoah Sanders,
Gastr Del Sol,
Derrick Morgan,
The Index,
Slave,
The Smoke,
UT,
Harpers Bizarre,
Maleditus Sound,
Swell Maps,
The Seeds,
Tommy Roe,
Dual Sessions,
Rosa Yemen,
Bobbi Humphrey,
the Slits,
Shoche,
Be Bop Deluxe,
A Certain Ratio,
Sarah Menescal,
Ultra Naté,
Ken Boothe,
Dark Day,
Banda Bassotti,
Sun Ra Arkestra,
Vladislav Delay,
Magazine,
The Pop Group,
Fela Kuti,
Notorious BIG live in Amsterdam,
Curtis Mayfield,
H. Thieme,
The Velvet Underground,
Chrome,
Moss Icon,
Brick,
Barclay James Harvest,
Rekid,
Half Japanese,
David Bowie,
Audionom,
China Crisis, China Crisis, China Crisis, China Crisis.
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.