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 Kiribati and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Portland 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 chamberlin 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 the Slits to the dance 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 It's A Beautiful Day. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Bootsy Collins,
Sonny Sharrock,
Sound Behaviour,
Ohio Players,
Ronnie Foster,
A Certain Ratio,
Red Lorry Yellow Lorry,
Moss Icon,
Cabaret Voltaire,
The Busters,
Notorious Big And Bone Thugs,
Pussy Galore,
Man Eating Sloth,
The Gladiators,
Joey Negro,
Rowland S Howard / Lydia Lunch,
Judy Mowatt,
Smog,
Anthony Braxton,
Aural Exciters,
The Real Kids,
Organ,
Slick Rick,
The American Breed,
Max Romeo,
Jesper Dahlback,
Neil Young,
Pierre Henry,
Anakelly,
The Dave Clark Five,
Pulsallama,
Sparks,
Soft Machine,
Blossom Toes,
Maleditus Sound,
The Stooges,
The Smoke,
The Techniques,
Michelle Simonal,
Kevin Saunderson,
Kaleidoscope,
Angry Samoans,
Rhythm & Sound,
Fad Gadget,
Big Daddy Kane,
Rekid,
Amon Düül,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Barclay James Harvest,
The Walker Brothers,
Eyeless In Gaza,
Hardrive,
Wire,
China Crisis,
Joensuu 1685,
Eric Copeland,
Rites of Spring,
Bobbi Humphrey,
Blancmange,
The Angels of Light,
Sandy B, Sandy B, Sandy B, Sandy B.
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.