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 Nauru and from Tokyo.
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 1979.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Bologna 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Chris & Cosey to the punk 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 Public Image Ltd.. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every K-Klass 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Massinfluence,
The Moody Blues,
The Techniques,
Altered Images,
David Axelrod,
Beasts of Bourbon,
Hot Snakes,
Little Man,
Lungfish,
Tim Buckley,
The Last Poets,
Yaz,
Fear,
The Doobie Brothers,
the Germs,
Ajijia Myrayebe,
Piero Umiliani,
Janne Schatter,
Harmonia,
Tears for Fears,
Unrelated Segments,
Terror Squad Feat. Camron,
Circle Jerks,
Liaisons Dangereuses,
Groovy Waters,
Lebanon Hanover,
Mark Hollis,
Jandek,
Richard Hell and the Voidoids,
The Cramps,
Newcleus,
Joensuu 1685,
Model 500,
Sly & The Family Stone,
Ornette Coleman,
Bluetip,
Black Sheep,
Icehouse,
Strawberry Alarm Clock,
Graham Central Station,
Colin Newman,
Arab on Radar,
Underground Resistance,
Surgeon,
The Star Department,
Eden Ahbez,
Zero Boys,
Gil Scott-Heron & Brian Jackson,
The Slits,
The Invisible,
Bush Tetras,
The American Breed,
The Litter,
Country Joe & The Fish,
Oneida,
John Cale,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
Eli Mardock,
Boredoms,
Mad Mike,
The Names, The Names, The Names, The Names.
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.