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 Canada and from Mumbai.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Beijing 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 808 sounds with much patience.
I was there when Robert Palmer 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 Lalann to the electroclash kids.
I played it at Trash.
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 Au Pairs. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Minor Threat,
The Cramps,
Girls At Our Best!,
Eurythmics,
Buzzcocks,
Masters at Work,
Notorious Big And Bone Thugs,
Visionaries,LMNO, T- Love & Iriscience,
The Slits,
Swans,
Derrick Morgan,
Kool G Rap & DJ Polo,
Supertramp,
The Fortunes,
The Sisters of Mercy,
Country Teasers,
Bauhaus,
Pylon,
Peter and Kerry,
Blossom Toes,
Inner City,
Moebius,
Sex Pistols,
Swell Maps,
Hot Snakes,
Lou Reed & John Cale,
The Peanut Butter Conspiracy,
Gil Scott-Heron and Jamie xx,
Rapeman,
Flash Fearless,
Red Lorry Yellow Lorry,
Royal Trux,
Liaisons Dangereuses,
Laurel Aitken,
Stereo Dub,
Be Bop Deluxe,
Sunsets and Hearts,
Zero Boys,
Joe Finger,
Skriet,
Index,
Hardrive,
The Searchers,
Lucky Dragons,
Radiohead,
Oppenheimer Analysis,
Ludus,
Stetsasonic,
Half Japanese,
Rahsaan Roland Kirk,
Loose Ends,
Pantaleimon,
The Toasters,
Fat Boys,
PIL,
The Buckinghams,
Aloha Tigers,
Sight & Sound,
the Swans,
The Blackbyrds,
Rod Modell,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.