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 South Africa and from Taipei.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Jesper Dahlbäck 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 Von Mondo. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Make Up 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Gian Franco Pienzio,
Vladislav Delay,
Adolescents,
Young Marble Giants,
Pet Shop Boys,
Maurizio,
Robert Hood,
Lafayette Afro Rock Band,
Goldenarms,
The Alarm Clocks,
Visage,
Alice Coltrane,
Circle Jerks,
Swell Maps,
Japan,
Buzzcocks,
Popol Vuh,
A Certain Ratio,
Little Man,
Black Flag,
Ultra Naté,
Sparks,
Scott Walker,
Sun Ra Arkestra,
Gregory Isaacs,
Blossom Toes,
Rites of Spring,
The Evens,
Funkadelic,
Wings,
Lungfish,
the Fania All-Stars,
Clear Light,
Cybotron,
The Litter,
Lee Hazlewood,
The Young Rascals,
Albert Ayler,
Minnie Riperton,
The United States of America,
The Sound,
Can,
London Community Gospel Choir,
kango's stein massive,
Warsaw,
Boogie Down Productions,
Fela Kuti,
Pantytec,
Soft Cell,
Todd Rundgren,
Barry Ungar,
The Blues Magoos,
Heaven 17,
Agent Orange,
James White and The Blacks,
Wally Richardson,
The Move,
Peter and Kerry,
Skaos,
Bush Tetras,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.