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 Azerbaijan and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Bremen 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the clarinet 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 The United States of America to the techno 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 Todd Terry. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Dead Boys 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 '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Siglo XX,
Pantytec,
The Chocolate Watch Band,
Lower 48,
Slave,
Ossler,
Mo-Dettes,
Bobbi Humphrey,
Roxy Music,
The Trojans,
Sonny Sharrock,
Cecil Taylor,
Hardrive,
Black Flag,
Robert Görl,
Cluster,
the Normal,
Sixth Finger,
Ronnie Foster,
Smog,
Sarah Menescal,
The Real Kids,
John Foxx,
Andrew Ashong & Theo Parrish,
Amazonics,
Parry Music,
Radiopuhelimet,
Wasted Youth,
Max Romeo,
Television,
Orchestral Manoeuvres in the Dark,
Jimmy McGriff,
The Count Five,
Graham Central Station,
Sound Behaviour,
Jeru the Damaja,
The Monochrome Set,
Spandau Ballet,
Negative Approach,
Kas Product,
The Pop Group,
Marmalade,
The Raincoats,
Hasil Adkins,
Public Enemy,
Ultramagnetic MC's,
Big Daddy Kane,
Janne Schatter,
The Standells,
Youth Brigade,
Procol Harum,
Cameo,
Blancmange,
Lou Reed & John Cale,
Ponytail,
Maleditus Sound,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.