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 Eritrea and from Woodstock.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Houston 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 David Axelrod to the electroclash kids.
I played it at Trash.
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 The Happenings. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Fortunes 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin 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 Vogues,
The Index,
Public Image Ltd.,
Roxette,
Bill Wells,
Skarface,
The Techniques,
Royal Trux,
The West Coast Pop Art Experimental Band,
Guru Guru,
X-102,
Amazonics,
Youth Brigade,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Mojo Men,
June of 44,
Brass Construction,
Lucky Dragons,
Letta Mbulu,
Big Daddy Kane,
Richard Hell and the Voidoids,
Barbara Tucker,
John Holt,
Ten City,
The Associates,
Roy Ayers Ubiquity,
Fela Kuti,
Ultravox,
Babytalk,
The Invisible,
8 Eyed Spy,
Dark Day,
CMW,
Slick Rick,
Rosa Yemen,
Harry Pussy,
Echospace,
Wire,
Camron Feat. Jay Z And Juelz,
Warsaw,
The United States of America,
Grey Daturas,
Loose Ends,
Godley & Creme,
Fugazi,
Be Bop Deluxe,
Leonard Cohen,
Mr. Review,
Minny Pops,
Sparks,
Whodini,
Newcleus,
Kool G Rap & DJ Polo,
Nirvana,
Jesper Dahlback,
Judy Mowatt,
Mark Hollis,
Gang Starr,
Bizarre Inc.,
Public Enemy,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.