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 United States and from Bologna.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Salvador 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe 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 Zero Boys to the jazz kids.
I played it at the 40 Watt.
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 Ronnie Foster. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Selector Dub Narcotic,
Icehouse,
Dennis Brown,
The Alarm Clocks,
Derrick Morgan,
Curtis Mayfield,
The Mummies,
Red Lorry Yellow Lorry,
Cameo,
Fifty Foot Hose,
Grauzone,
Babytalk,
Bobby Womack,
Nirvana,
Fatback Band,
Faust,
Funkadelic,
Frankie Knuckles,
Delon & Dalcan,
The Divine Comedy,
Moby Grape,
Isaac Hayes,
John Coltrane,
E-Dancer,
The Gun Club,
Stiv Bators,
Von Mondo,
Index,
Erasure,
Severed Heads,
Pharoah Sanders,
Duran Duran,
Boredoms,
Model 500,
Roy Ayers Ubiquity,
Bill Near,
Desert Stars,
Johnny Osbourne,
Crooked Eye,
EPMD,
PIL,
8 Eyed Spy,
10cc,
A Flock of Seagulls,
Sex Pistols,
Matthew Halsall,
The Slackers,
Qualms,
Dark Day,
48th St. Collective,
the Normal,
Thompson Twins,
Silicon Teens,
Joe Smooth,
The Residents,
Ten City,
Young Marble Giants,
Pulsallama,
Bang on a Can All-Stars,
Angry Samoans,
Ohio Players,
Supertramp,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.