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 Philippines and from Delhi.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 James Chance & The Contortions to the crunk kids.
I played it at the Spitz.
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 Boredoms tracks. I heard you have a vinyl of every Nas 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Glenn Branca,
Country Teasers,
Soul II Soul,
The United States of America,
Gong,
Porter Ricks,
Alice Coltrane,
Gil Scott-Heron and Jamie xx,
Lucky Dragons,
Cybotron,
Johnny Clarke,
The Techniques,
The Smoke,
Kango’s Stein Massive,
Essential Logic,
Parry Music,
Manfred Mann's Earth Band,
Youth Brigade,
B.T. Express,
Matthew Halsall,
Bobby Hutcherson,
John Lydon,
Agitation Free,
Aaron Thompson,
Bobby Sherman,
Shoche,
Average White Band,
New York Dolls,
F. McDonald,
Silicon Teens,
The Gap Band,
Can,
The Mighty Diamonds,
Chrome,
Dark Day,
Fatback Band,
Alison Limerick,
The Barracudas,
Peter & Gordon,
Aural Exciters,
David Bowie,
The Invisible,
The Gladiators,
Khruangbin,
Gang of Four,
Heaven 17,
Roxy Music,
The Fugs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harmonia,
Gil Scott Heron,
Eve St. Jones,
Crime,
Negative Approach,
Model 500,
The American Breed,
Ohio Players,
Terror Squad Feat. Camron,
The Slackers,
Kerrie Biddell,
Main Source,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.