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 Mozambique and from Sao Paulo.
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 1976.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Houston 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 Donald Fagen 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 Motorama 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 Moby Grape. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Pantytec,
Schoolly D,
Black Flag,
Crispy Ambulance,
A Certain Ratio,
Tears for Fears,
Tubeway Army,
Sparks,
Oppenheimer Analysis,
Leonard Cohen,
a-ha,
T. Rex,
Robert Görl,
Laurel Aitken,
Tim Buckley,
Motorama,
Steve Hackett,
Morten Harket,
Cabaret Voltaire,
Bobby Byrd,
Fat Boys,
Public Image Ltd.,
Ajijia Myrayebe,
The Doobie Brothers,
The Cure,
Hoover,
Underground Resistance,
James White and The Blacks,
Mars,
Buzzcocks,
Lucky Dragons,
The Saints,
Sonic Youth,
Big Daddy Kane,
Max Romeo,
David McCallum,
Idris Muhammad,
Gabor Szabo,
Pantaleimon,
It's A Beautiful Day,
Mary Jane Girls,
Jesper Dahlbäck,
Black Sheep,
The Walker Brothers,
Fluxion,
Harpers Bizarre,
Wally Richardson,
Swans,
The Cosmic Jokers,
Toni Rubio,
Roy Ayers Ubiquity,
Tropical Tobacco,
Audionom,
Absolute Body Control,
The Gap Band,
Junior Murvin,
Eurythmics,
Matthew Bourne,
The Happenings,
Supertramp, Supertramp, Supertramp, Supertramp.
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.