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 Switzerland and from Beijing.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Delhi 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 marimba 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 Metal Thangz 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 Bang On A Can. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Curtis Mayfield 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 '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Letta Mbulu,
Kango’s Stein Massive,
Liaisons Dangereuses,
Nas,
Half Japanese,
Siouxsie and the Banshees,
Clear Light,
Crispy Ambulance,
OOIOO,
Underground Resistance,
Subhumans,
Toni Rubio,
Panda Bear,
Rhythm & Sound,
The Saints,
Kool Moe Dee,
Joe Smooth,
JFA,
Gian Franco Pienzio,
Moss Icon,
The Pop Group,
Zapp,
Mark Hollis,
Pharoah Sanders,
the Human League,
The Smiths,
Sällskapet,
Sight & Sound,
The Electric Prunes,
The Dead C,
Masters at Work,
Sad Lovers and Giants,
Organ,
Kerri Chandler,
The United States of America,
Spandau Ballet,
The Busters,
FM Einheit,
Carl Craig,
Quantec,
Robert Wyatt,
Scientists,
Bobby Womack,
Roxette,
Bluetip,
Davy DMX,
Newcleus,
Dark Day,
The Last Poets,
The Kinks,
The Mighty Diamonds,
Ultramagnetic MC's,
Bootsy Collins,
The Birthday Party,
Unrelated Segments,
Sarah Menescal,
Little Man,
Danielle Patucci,
The Young Rascals,
Art Ensemble Of Chicago,
Nick Fraelich,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.