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 St Lucia and from Lyon.
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 1977.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Houston 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 synthesizer 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 Nation of Ulysses to the dance kids.
I played it at the Astoria.
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 Chrome. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Tubeway Army,
Cabaret Voltaire,
AZ,
Juan Atkins,
Interpol,
The Fugs,
Josef K,
The Star Department,
Angels of Light & Akron/Family,
Talk Talk,
Marc Romboy vs. Booka Shade,
Kool Moe Dee,
The Victims,
John Coltrane,
Ajijia Myrayebe,
Gichy Dan,
Rapeman,
Moby Grape,
Matthew Halsall,
Joensuu 1685,
The Barracudas,
Aural Exciters,
Marc Almond,
The Grass Roots,
The Dirtbombs,
David McCallum,
Bootsy's Rubber Band,
Amazonics,
Cecil Taylor,
Fear,
Crime,
Drive Like Jehu,
John Holt,
Oppenheimer Analysis,
Sam Rivers,
Tim Buckley,
The Associates,
Monks,
Barry Ungar,
Tomorrow,
Dawn Penn,
Glenn Branca,
Flash Fearless,
Jerry's Kids,
Sällskapet,
Goldenarms,
Selector Dub Narcotic,
Jimmy McGriff,
Andrew Ashong & Theo Parrish,
Peter & Gordon,
Maurizio,
B.T. Express,
Lonnie Liston Smith,
48th St. Collective,
Urselle,
The Birthday Party,
Young Marble Giants,
The Velvet Underground,
Brick,
Man Parrish,
The Shadows of Knight,
The Dead C, The Dead C, The Dead C, The Dead C.
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.