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 Uruguay and from Tehran.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Manchester 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 mellotron 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 Ash Ra Tempel to the dance kids.
I played it at Cafe Wha.
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 Throbbing Gristle. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Josef K 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Marcia Griffiths,
Rapeman,
The Smoke,
Mantronix,
Vaughan Mason & Crew,
Big Daddy Kane,
The Star Department,
Organ,
Strawberry Alarm Clock,
The Alarm Clocks,
The Beau Brummels,
Al Stewart,
The Residents,
June of 44,
Mars,
Crispian St. Peters,
Magazine,
Warsaw,
Kaleidoscope,
DeepChord presents Echospace,
Icehouse,
Eric B and Rakim,
Derrick May,
Sad Lovers and Giants,
Yusef Lateef,
Beasts of Bourbon,
Colin Newman,
One Last Wish,
A Flock of Seagulls,
Terry Callier,
Radiopuhelimet,
Lou Reed,
The Vogues,
Minny Pops,
Notorious BIG live in Amsterdam,
H. Thieme,
Radio Birdman,
Nas,
UT,
Sly & The Family Stone,
Glenn Branca,
Judy Mowatt,
Gabor Szabo,
Das Ding,
Con Funk Shun,
The Gories,
Bootsy Collins,
Steve Hackett,
Soul Sonic Force,
The Invisible,
Roy Ayers,
Robert Görl,
Deepchord,
Rosa Yemen,
Amon Düül II,
The United States of America,
The Divine Comedy,
Roger Hodgson,
Sam Rivers,
Duran Duran,
Pole, Pole, Pole, Pole.
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.