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 Spain and from Manchester.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Johannesburg.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Suburban Knight to the electroclash 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 Brass Construction. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Smog,
PIL,
Tubeway Army,
EPMD,
Lou Reed & Metallica,
China Crisis,
Ajijia Myrayebe,
Bootsy's Rubber Band,
Marmalade,
Traffic Nightmare,
Audionom,
Marvin Gaye,
Godley & Creme,
Barclay James Harvest,
It's A Beautiful Day,
Rufus Thomas,
Toni Rubio,
Tropical Tobacco,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jerry Gold Smith,
Kerrie Biddell,
X-Ray Spex,
Yazoo,
R.M.O.,
Mandrill,
Brand Nubian,
Boredoms,
Grey Daturas,
UT,
Hardrive,
Bill Wells,
The Gories,
Moby Grape,
Liliput,
Siouxsie and the Banshees,
Dave Gahan,
Siglo XX,
De La Soul & Jungle Brothers,
Pole,
Ultra Naté,
Scott Walker + Sunn O))),
the Soft Cell,
The Royal Family And The Poor,
Byron Stingily,
Art Ensemble Of Chicago,
Flash Fearless,
Dual Sessions,
Gil Scott Heron,
Maurizio,
A Flock of Seagulls,
Skaos,
Jawbox,
Dorothy Ashby,
Donald Byrd,
Jacques Brel,
Lyres,
Rahsaan Roland Kirk,
New Age Steppers,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.