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 Denmark and from Jakarta.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Portland.
I'm losing my edge to the art-school Manila 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 marimba sounds with much patience.
I was there when Lou Reed 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 Marshall Jefferson to the crunk 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 kango's stein massive. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
EPMD,
Roxy Music,
Public Enemy,
Rotary Connection,
Khruangbin,
Sexual Harrassment,
New Age Steppers,
Symarip,
Throbbing Gristle,
LL Cool J,
The Blues Magoos,
Yellowson,
Gong,
Chrome,
Amazonics,
Vainqueur,
Minutemen,
Gregory Isaacs,
Mark Hollis,
Oppenheimer Analysis,
Joensuu 1685,
The Fuzztones,
Moss Icon,
Glambeats Corp.,
Max Romeo,
Massinfluence,
Cluster,
Bobby Byrd,
Echo & the Bunnymen,
Liaisons Dangereuses,
Rod Modell,
Tres Demented,
Bronski Beat,
Brick,
Roy Ayers Ubiquity,
Angels of Light & Akron/Family,
Aural Exciters,
Kevin Saunderson,
Sunsets and Hearts,
Neu!,
Monks,
The Busters,
Bush Tetras,
The Beau Brummels,
Vladislav Delay,
The Buckinghams,
Basic Channel,
Kings Of Tomorrow,
Magazine,
Jesper Dahlbäck,
Quando Quango,
E-Dancer,
Black Sheep,
Jacob Miller,
Kerri Chandler,
Tears for Fears,
Pierre Henry,
Scratch Acid,
Index,
The United States of America,
Barbara Tucker,
Kaleidoscope,
Sugar Minott,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.