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 Germany 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 1972.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school London 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 harpsichord 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 T. Rex to the rock kids.
I played it at the Spitz.
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 Lindisfarne. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Connie Case,
The Trojans,
The Misunderstood,
MC5,
Ultravox,
The Seeds,
Sex Pistols,
Aswad,
Deutsch Amerikanische Freundschaft,
Jeff Mills,
X-Ray Spex,
Sunsets and Hearts,
Grandmaster Flash,
Quantec,
Aaron Thompson,
Adolescents,
Strawberry Alarm Clock,
Sixth Finger,
Darondo,
June Days,
Minny Pops,
Joe Finger,
The Golliwogs,
Cabaret Voltaire,
Skaos,
Bobby Hutcherson,
Toni Rubio,
Popol Vuh,
Harmonia,
Oppenheimer Analysis,
Spoonie Gee,
The Associates,
Ludus,
Sun Ra,
This Heat,
James Chance & The Contortions,
Deakin,
Pylon,
Dark Day,
The Real Kids,
Donald Byrd,
Tubeway Army,
Marcia Griffiths,
The Jesus and Mary Chain,
One Last Wish,
Skarface,
Wire,
Pussy Galore,
Bronski Beat,
Deadbeat,
Massinfluence,
Sun City Girls,
Brothers Johnson,
The Five Americans,
The Motions,
John Foxx,
Oneida,
Cheater Slicks,
Heavy D & The Boyz,
B.T. Express,
Marmalade,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.