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 Nicaragua and from Lyon.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Lyon 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Nils Olav to the electroclash kids.
I played it at the Roxy.
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 Max Romeo. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Terror Squad Feat. Camron,
Pete Rock & C.L. Smooth,
Sight & Sound,
Maleditus Sound,
Tubeway Army,
Archie Shepp,
Tommy Roe,
Amon Düül,
World's Most,
Selector Dub Narcotic,
The Fugs,
Japan,
Liliput,
Boredoms,
Byron Stingily,
Parry Music,
Siouxsie and the Banshees,
Marc Almond,
Cal Tjader,
the Human League,
Eurythmics,
DJ Sneak,
Scrapy,
Swell Maps,
The Moleskins,
Alison Limerick,
X-Ray Spex,
Robert Görl,
Blake Baxter,
A Flock of Seagulls,
Peter & Gordon,
Black Sheep,
Can,
Dawn Penn,
The Standells,
The Cure,
Absolute Body Control,
Moby Grape,
Todd Terry,
The Vogues,
Mad Mike,
The Misunderstood,
Ornette Coleman,
Sällskapet,
Grandmaster Flash and the Furious Five,
June Days,
Ajijia Myrayebe,
The Wake,
Graham Central Station,
Bronski Beat,
Joy Division,
Public Image Ltd.,
Radiopuhelimet,
John Foxx,
Bill Wells,
Sandy B,
Sunsets and Hearts,
Piero Umiliani,
Aural Exciters,
Curtis Mayfield,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.