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 Morocco and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Vaughan Mason & Crew to the grime 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 Bad Manners. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Nick Cave & The Bad Seeds,
Flipper,
Bootsy Collins,
Boz Scaggs,
Bang On A Can,
Louis and Bebe Barron,
The Fortunes,
Siouxsie and the Banshees,
Television,
Intrusion,
John Cale,
Marvin Gaye,
Bush Tetras,
Harpers Bizarre,
Deutsch Amerikanische Freundschaft,
KRS-One,
Patti Smith,
Monolake,
Rod Modell,
Kayak,
Angels of Light & Akron/Family,
Eden Ahbez,
Moss Icon,
Simply Red,
Jimmy McGriff,
Grey Daturas,
Eli Mardock,
Connie Case,
Trumans Water,
Sun City Girls,
Bang on a Can All-Stars,
Todd Rundgren,
Public Enemy,
Warsaw,
Dark Day,
A Certain Ratio,
Al Stewart,
Carl Craig,
Camron Feat. Jay Z And Juelz,
Little Man,
Gang Gang Dance,
Mandrill,
Marcia Griffiths,
Ash Ra Tempel,
Mo-Dettes,
Lou Reed,
Roy Ayers Ubiquity,
The Last Poets,
Ituana,
The Associates,
Hot Snakes,
The Peanut Butter Conspiracy,
Gang of Four,
Vladislav Delay,
Bluetip,
Cameo,
Letta Mbulu,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.