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 Poland and from Shanghai.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Tropical Tobacco to the rock 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 LL Cool J. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Roxy Music 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 '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Marcia Griffiths,
Soul II Soul,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
Eli Mardock,
James White and The Blacks,
A Flock of Seagulls,
Leonard Cohen,
The Techniques,
U.S. Maple,
Swans,
Avey Tare,
Brand Nubian,
Aaron Thompson,
Trumans Water,
Ituana,
Monks,
Scott Walker,
Matthew Halsall,
Fifty Foot Hose,
Clear Light,
Second Layer,
The Cure,
Little Man,
The Birthday Party,
Circle Jerks,
Pussy Galore,
Prince Buster,
Albert Ayler,
The Electric Prunes,
Stetsasonic,
Marc Romboy vs. Booka Shade,
Popol Vuh,
PIL,
Harmonia,
Procol Harum,
Todd Rundgren,
Richard Hell and the Voidoids,
Piero Umiliani,
Ronnie Foster,
Tears for Fears,
Marshall Jefferson,
Yazoo,
Zapp,
Susan Cadogan,
Anakelly,
MC5,
T. Rex,
June Days,
Jesper Dahlback,
The Standells,
John Lydon,
The Star Department,
Slick Rick,
Wolf Eyes,
Fear,
Larry & the Blue Notes,
Derrick Morgan,
One Last Wish,
Iggy Pop,
Fugazi,
The United States of America, The United States of America, The United States of America, The United States of America.
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.