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 St Kitts & Nevis and from Glasgow.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Lagos 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Mark Hollis to the grime 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 Teenage Jesus and the Jerks. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Rotary Connection,
The West Coast Pop Art Experimental Band,
Wire,
The Litter,
The Alarm Clocks,
Roxette,
The Cure,
Shuggie Otis,
The Jesus and Mary Chain,
Donny Hathaway,
Tubeway Army,
Maurizio,
Dorothy Ashby,
Sun City Girls,
Brass Construction,
The Tremeloes,
Faust,
The Residents,
Amon Düül,
Angry Samoans,
Moebius,
Country Joe & The Fish,
DNA,
Electric Light Orchestra,
Accadde A,
Scan 7,
Harry Pussy,
Kool G Rap & DJ Polo,
The Sound,
Pylon,
Eden Ahbez,
Letta Mbulu,
Notorious Big And Bone Thugs,
Infiniti,
John Holt,
Marine Girls,
Lizzy Mercier Descloux,
Toni Rubio,
Roy Ayers,
Delta 5,
Bobby Hutcherson,
Qualms,
Deakin,
Funky Four + One,
Alphaville,
Aural Exciters,
The Remains,
Saccharine Trust,
Yaz,
Wolf Eyes,
Moss Icon,
Magazine,
Erykah Badu,
Niagra,
Rekid,
Arthur Verocai,
Rufus Thomas,
The Fortunes,
Crash Course in Science,
Sex Pistols,
Pere Ubu,
Section 25, Section 25, Section 25, Section 25.
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.