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 Bosnia Herzegovina and from London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Manchester 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 mellotron 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 Black Sheep to the electroclash kids.
I played it at the Astoria.
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 Ralphi Rosario. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Eric Dolphy 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Aaron Thompson,
KRS-One,
Cheater Slicks,
Kango’s Stein Massive,
Flipper,
The Smiths,
Harpers Bizarre,
Rekid,
Q65,
The Remains,
Alice Coltrane,
Jesper Dahlbäck,
Public Image Ltd.,
Sarah Menescal,
Freddie Wadling,
The Grass Roots,
Lou Reed & Metallica,
Swans,
The Monochrome Set,
Jeru the Damaja,
Roy Ayers,
Archie Shepp,
Carl Craig,
Thee Headcoats,
Rowland S Howard / Lydia Lunch,
Wire,
Yaz,
Ice-T,
Guru Guru,
Darondo,
Siglo XX,
Lindisfarne,
Drive Like Jehu,
Lou Christie,
Basic Channel,
The Seeds,
Barrington Levy,
Lucky Dragons,
Cal Tjader,
Bootsy Collins,
Thompson Twins,
Sun Ra Arkestra,
U.S. Maple,
The Sonics,
Minor Threat,
Japan,
Isaac Hayes,
Eddi Front,
Fatback Band,
Mad Mike,
Spandau Ballet,
John Lydon,
Zero Boys,
Crooked Eye,
Pagans,
Altered Images,
Skriet,
Tom Boy,
Mandrill,
The Divine Comedy,
Marc Romboy vs. Booka Shade,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.