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 Kyrgyzstan and from Stockholm.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Philadelphia 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 güiro 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 Charles Mingus to the techno kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Quadrant 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
The Star Department,
Pharoah Sanders,
cv313,
Bootsy's Rubber Band,
Maurizio,
Parry Music,
The Neon Judgement,
Jeff Lynne,
Bizarre Inc.,
48th St. Collective,
Warsaw,
Amon Düül,
Kerrie Biddell,
Kurtis Blow,
Circle Jerks,
Notorious BIG live in Amsterdam,
Swell Maps,
The Raincoats,
Crime,
Ronan,
Sun Ra,
Joe Finger,
James Chance & The Contortions,
The Flesh Eaters,
Faraquet,
Technova,
Donald Byrd,
H. Thieme,
JFA,
Basic Channel,
Scion,
Kaleidoscope,
Interpol,
Eve St. Jones,
Kango’s Stein Massive,
Lower 48,
Darondo,
Rites of Spring,
Mr. Review,
The Tremeloes,
The Leaves,
Ronnie Foster,
Jerry's Kids,
Chris & Cosey,
EPMD,
The Stooges,
Kas Product,
Suicide,
Bobby Byrd,
Toni Rubio,
Quantec,
F. McDonald,
Yaz,
Malaria!,
World's Most,
Junior Murvin,
The Fall,
DJ Style,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.