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 Guinea and from Jakarta.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Beijing 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 theremin 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 Oblivians 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 Cheater Slicks. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Faraquet record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Traffic Nightmare,
The Buckinghams,
Jeff Mills,
Blancmange,
Agent Orange,
The Five Americans,
Nation of Ulysses,
The Sonics,
Adolescents,
The Gladiators,
Oblivians,
Ludus,
Kauko Röyhkä ja Narttu,
Pagans,
Flipper,
Yaz,
Wings,
Bobby Hutcherson,
Glambeats Corp.,
Althea and Donna,
Little Man,
David McCallum,
Notorious BIG live in Amsterdam,
The Smiths,
Todd Terry,
The Gun Club,
Harry Pussy,
The Toasters,
Lee Hazlewood,
Sun City Girls,
Sonic Youth,
Sparks,
the Slits,
Dave Gahan,
Shoche,
Sunsets and Hearts,
Surgeon,
Sexual Harrassment,
Tommy Roe,
Main Source,
Kayak,
Brass Construction,
Bootsy Collins,
Fat Boys,
Slick Rick,
X-102,
Scan 7,
The Black Dice,
Theoretical Girls,
The Divine Comedy,
The Slackers,
Thinking Fellers Union Local 282,
Derrick May,
Lalo Schifrin,
Thee Headcoats,
Pantytec,
Cabaret Voltaire,
Livin' Joy,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.