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 Yemen and from New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Minnie Riperton to the jazz kids.
I played it at the 40 Watt.
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 Peter & Gordon. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Trumans Water,
JFA,
Quadrant,
Pere Ubu,
R.M.O.,
Blancmange,
Vaughan Mason & Crew,
Selector Dub Narcotic,
T.S.O.L.,
The American Breed,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
Byron Stingily,
Iggy Pop,
Pagans,
The Motions,
Bootsy's Rubber Band,
Terror Squad Feat. Camron,
Bobby Sherman,
Cheater Slicks,
Wings,
48th St. Collective,
The Kinks,
Michelle Simonal,
James White and The Blacks,
Pharoah Sanders,
Skarface,
Masters at Work,
The Fire Engines,
The Pretty Things,
Eyeless In Gaza,
Saccharine Trust,
ABC,
Minor Threat,
Alphaville,
Laurel Aitken,
Tommy Roe,
Public Enemy,
Pulsallama,
Flash Fearless,
The Fall,
Deepchord,
Grey Daturas,
K-Klass,
Mark Hollis,
MC5,
Yusef Lateef,
Gil Scott Heron,
Althea and Donna,
Interpol,
Bad Manners,
Freddie Wadling,
Intrusion,
Kool Moe Dee,
Stereo Dub,
Sad Lovers and Giants,
Ornette Coleman,
Kas Product,
The Litter,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.