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 Italy and from Cairo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Cairo 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the jazz 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 Camberwell Now. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
The Martian,
Oneida,
The Fire Engines,
Warren Ellis,
The Star Department,
Visage,
10cc,
Pylon,
Barbara Tucker,
Bootsy's Rubber Band,
Hashim,
OOIOO,
Urselle,
Smog,
The Saints,
Ituana,
the Germs,
The Smiths,
Skarface,
The Raincoats,
Cameo,
Eyeless In Gaza,
Eden Ahbez,
Joyce Sims,
Jerry Gold Smith,
The Associates,
Pere Ubu,
Pulsallama,
The Offenders,
Blake Baxter,
Popol Vuh,
Tom Boy,
The Vogues,
Fluxion,
Morten Harket,
The Electric Prunes,
Slave,
The Smoke,
Newcleus,
Liaisons Dangereuses,
Magazine,
Television,
Lindisfarne,
Eric Copeland,
Ajijia Myrayebe,
Bobby Womack,
Roy Ayers,
The Mighty Diamonds,
Janne Schatter,
Stiv Bators,
Rahsaan Roland Kirk,
Throbbing Gristle,
Flipper,
The Zeros,
Depeche Mode,
The Blues Magoos,
Parry Music,
Black Moon,
Bush Tetras,
Soulsonic Force,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.