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 Iran and from Johannesburg.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school New York 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 synthesizer 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 Masters at Work to the rock kids.
I played it at the Hacienda.
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 Pole. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal grime 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 a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
The Golliwogs,
Crash Course in Science,
Ken Boothe,
The Smoke,
Jandek,
Gary Puckett & The Union Gap,
Theoretical Girls,
Anthony Braxton,
The Royal Family And The Poor,
Stockholm Monsters,
Urselle,
Pere Ubu,
Kurtis Blow,
ABBA,
DJ Sneak,
Brothers Johnson,
Rotary Connection,
The Dirtbombs,
Rhythim Is Rhythim,
Vaughan Mason & Crew,
Teenage Jesus and the Jerks,
Dead Boys,
MDC,
OOIOO,
Sad Lovers and Giants,
Popol Vuh,
Jacques Brel,
Tommy Roe,
Sparks,
Sonic Youth,
Reuben Wilson,
Avey Tare & Kría Brekkan,
Circle Jerks,
Kenny Larkin,
Jesper Dahlback,
JFA,
Sugar Minott,
Red Lorry Yellow Lorry,
Pete Rock & C.L. Smooth,
Franke,
the Sonics,
Mandrill,
Joyce Sims,
T.S.O.L.,
New York Dolls,
Sonny Sharrock,
Crime,
Delon & Dalcan,
Röyhkä ja Rättö ja Lehtisalo,
Fugazi,
Ice-T,
Trumans Water,
Q65,
Flipper,
Althea and Donna,
Blake Baxter,
48th St. Collective,
Amon Düül,
Surgeon,
Jeru the Damaja,
Black Pus, Black Pus, Black Pus, Black Pus.
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.