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 Chile and from Bremen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Manila.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers Ubiquity to the dance 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 Boredoms. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
London Community Gospel Choir,
Rowland S Howard / Lydia Lunch,
Bad Manners,
Magazine,
The Pop Group,
Section 25,
Swell Maps,
Pulsallama,
Banda Bassotti,
Gichy Dan,
Drive Like Jehu,
Can,
Bobby Sherman,
Jeff Lynne,
Maleditus Sound,
Second Layer,
Amazonics,
Hoover,
Barclay James Harvest,
Oppenheimer Analysis,
Chris & Cosey,
Zapp,
the Slits,
Peter & Gordon,
The Alarm Clocks,
Scrapy,
Eric B and Rakim,
Nation of Ulysses,
The Leaves,
Jesper Dahlback,
The Cosmic Jokers,
Wally Richardson,
Hashim,
The Dirtbombs,
Pere Ubu,
Siouxsie and the Banshees,
Notorious Big And Bone Thugs,
The Fortunes,
Echo & the Bunnymen,
Joyce Sims,
a-ha,
DJ Style,
Subhumans,
The Gladiators,
Lucky Dragons,
Rhythm & Sound,
Scott Walker,
The Five Americans,
Silicon Teens,
Aaron Thompson,
Rapeman,
Symarip,
Eyeless In Gaza,
Slave,
Tears for Fears,
R.M.O.,
Lungfish,
Peter and Kerry,
Angry Samoans,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.