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 Finland and from Accra.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
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 Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 The Doors to the funk kids.
I played it at the Hacienda.
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 Crash Course in Science. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every T. Rex 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 '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
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,
Sad Lovers and Giants,
One Last Wish,
Captain Beefheart & His Magic Band,
Iggy Pop,
Rufus Thomas,
Lower 48,
Orchestral Manoeuvres in the Dark,
Suburban Knight,
Brothers Johnson,
Funky Four + One,
Peter and Kerry,
David McCallum,
Erasure,
Pierre Henry,
Section 25,
The Toasters,
Supertramp,
KRS-One,
Scrapy,
Index,
8 Eyed Spy,
Little Man,
The Men They Couldn't Hang,
the Fania All-Stars,
The Blackbyrds,
The American Breed,
K-Klass,
Nas,
The Saints,
Todd Rundgren,
Angels of Light & Akron/Family,
R.M.O.,
Metal Thangz,
Yellowson,
Tears for Fears,
Judy Mowatt,
Nick Fraelich,
Gong,
the Germs,
Howard Jones,
Johnny Clarke,
The Fugs,
Freddie Wadling,
Mantronix,
Massinfluence,
Ludus,
Bluetip,
Bobby Hutcherson,
Piero Umiliani,
Yusef Lateef,
Robert Görl,
The Gun Club,
Don Cherry,
Alice Coltrane,
The Leaves,
H. Thieme,
Cal Tjader,
Alphaville,
Bill Near,
Stockholm Monsters,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.