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 Estonia and from Woodstock.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school New York 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe 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 Marine Girls to the rock kids.
I played it at the Troubador.
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 Dave Gahan. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
The Alarm Clocks,
Connie Case,
Whodini,
Jesper Dahlback,
Ash Ra Tempel,
Ultimate Spinach,
Bob Dylan,
Gian Franco Pienzio,
The Busters,
Television,
Deutsch Amerikanische Freundschaft,
Panda Bear,
Warren Ellis,
The Smoke,
Cabaret Voltaire,
Robert Hood,
Boz Scaggs,
Pulsallama,
The Move,
Roger Hodgson,
Glambeats Corp.,
Peter and Kerry,
Jerry Gold Smith,
The American Breed,
Susan Cadogan,
Au Pairs,
Pussy Galore,
The Evens,
MDC,
Absolute Body Control,
Eric Dolphy,
Ronnie Foster,
DNA,
The Victims,
Minnie Riperton,
The Human League,
The Last Poets,
Jeff Mills,
Bobby Byrd,
Fluxion,
The Searchers,
Accadde A,
Justin Hinds & The Dominoes,
Parry Music,
Reagan Youth,
Isaac Hayes,
Marshall Jefferson,
Soft Machine,
Mary Jane Girls,
The Standells,
Saccharine Trust,
Average White Band,
Deakin,
Basic Channel,
Zapp,
Soul Sonic Force,
Hasil Adkins,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.