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 St Lucia and from Lyon.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school New York 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 synthesizer 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 Flipper to the techno kids.
I played it at the Spitz.
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 Whodini. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every La Düsseldorf 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Rakim,
Blancmange,
Sunsets and Hearts,
Matthew Halsall,
The Detroit Cobras,
The Dirtbombs,
The Durutti Column,
Vladislav Delay,
The Shadows of Knight,
Eric Dolphy,
Sam Rivers,
Desert Stars,
Andrew Hill,
Grandmaster Flash,
Barry Ungar,
Pantytec,
The Zeros,
The Smiths,
Orchestral Manoeuvres in the Dark,
Eric Copeland,
Liaisons Dangereuses,
Rhythim Is Rhythim,
The Electric Prunes,
Newcleus,
Louis and Bebe Barron,
Schoolly D,
Silicon Teens,
Pierre Henry,
Masters at Work,
Drexciya,
Eve St. Jones,
Nils Olav,
U.S. Maple,
Black Flag,
Swans,
Tim Buckley,
Neu!,
The Flesh Eaters,
The Standells,
Carl Craig,
Gian Franco Pienzio,
Eddi Front,
Echospace,
Whodini,
The Happenings,
Excepter,
10cc,
Joey Negro,
Piero Umiliani,
Mantronix,
Cluster,
Josef K,
Lakeside,
Gastr Del Sol,
Idris Muhammad,
Shuggie Otis,
Crash Course in Science,
These Immortal Souls,
Animal Collective,
Johnny Clarke,
Johnny Osbourne,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.