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 Jamaica and from Bremen.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Rhythim Is Rhythim to the punk kids.
I played it at CBGB's.
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 Ten City. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Model 500,
Easy Going,
Pylon,
Fear,
David Axelrod,
Fifty Foot Hose,
Camouflage,
The Raincoats,
Camron Feat. Memphis Bleek And Beenie Seigel,
Junior Murvin,
The Alarm Clocks,
Jandek,
Trumans Water,
Black Pus,
Lou Reed & John Cale,
The Selecter,
Ken Boothe,
Deadbeat,
Eric Copeland,
The Modern Lovers,
Morten Harket,
Little Man,
Pantytec,
The Doors,
Brick,
Pharaoh Sanders and the Fire Engines,
Bootsy's Rubber Band,
Susan Cadogan,
Ronnie Foster,
Groovy Waters,
Animal Collective,
Marmalade,
Nation of Ulysses,
Big Daddy Kane,
Anakelly,
Agent Orange,
Sexual Harrassment,
Tubeway Army,
Girls At Our Best!,
The Tremeloes,
Scrapy,
Kauko Röyhkä ja Narttu,
Eden Ahbez,
Letta Mbulu,
Quando Quango,
Ralphi Rosario,
Dead Boys,
Godley & Creme,
Q65,
The Cowsills,
T.S.O.L.,
10cc,
The Gun Club,
Chrome,
Ice-T,
U.S. Maple,
Jeff Lynne,
Tropical Tobacco,
Jacques Brel,
The Sound,
Lyres,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.