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 Denmark and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Seoul 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 organ 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 Banda Bassotti to the rock 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 Shuggie Otis. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Neil Young,
ABBA,
Gerry Rafferty,
Dorothy Ashby,
Minor Threat,
Crime,
Monks,
Delon & Dalcan,
Desert Stars,
The Motions,
New Age Steppers,
Angry Samoans,
Magazine,
The Pop Group,
Surgeon,
Oblivians,
Camron Feat. Memphis Bleek And Beenie Seigel,
Severed Heads,
Spoonie Gee,
The Neon Judgement,
The J.B.'s,
Arthur Verocai,
Funkadelic,
A Flock of Seagulls,
Rotary Connection,
The Toasters,
Popol Vuh,
Jawbox,
Rakim,
Q and Not U,
the Soft Cell,
Yusef Lateef,
OOIOO,
The Beau Brummels,
Motorama,
La Düsseldorf,
The Saints,
Art Ensemble Of Chicago,
Marc Romboy vs. Booka Shade,
Mo-Dettes,
Joyce Sims,
The Jesus and Mary Chain,
Ken Boothe,
Sight & Sound,
Skarface,
MDC,
These Immortal Souls,
Siglo XX,
Connie Case,
The Peanut Butter Conspiracy,
DNA,
Joy Division,
Vaughan Mason & Crew,
Talk Talk,
Shuggie Otis,
Buzzcocks,
Jacob Miller,
Sonny Sharrock,
The Durutti Column,
Rod Modell,
In Retrospect,
Little Man,
Dark Day, Dark Day, Dark Day, Dark Day.
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.