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 Ghana and from Lyon.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when David Bowie 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 Max Romeo to the techno kids.
I played it at the Crocodile.
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 Nik Kershaw. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Bootsy Collins,
Erasure,
Avey Tare,
Peter Gordon & Love of Life Orchestra,
Radio Birdman,
Steve Hackett,
Flamin' Groovies,
Saccharine Trust,
Severed Heads,
Fluxion,
Country Joe & The Fish,
Todd Terry,
Jesper Dahlbäck,
Scratch Acid,
Faraquet,
Nation of Ulysses,
Mantronix,
Bill Wells,
Das Ding,
Ken Boothe,
The Leaves,
Pere Ubu,
Nik Kershaw,
Warren Ellis,
Lightning Bolt,
Roxy Music,
The Durutti Column,
Barry Ungar,
Amon Düül,
Essential Logic,
The Techniques,
Liaisons Dangereuses,
Spoonie Gee,
The Mighty Diamonds,
Model 500,
Alice Coltrane,
John Foxx,
T. Rex,
Selector Dub Narcotic,
Soul Sonic Force,
Mark Hollis,
Angry Samoans,
Tropical Tobacco,
Traffic Nightmare,
Heavy D & The Boyz,
Piero Umiliani,
Grandmaster Flash,
Lizzy Mercier Descloux,
Dead Boys,
Lucky Dragons,
Can,
Lalo Schifrin,
Mission of Burma,
Talk Talk,
the Soft Cell,
Absolute Body Control,
Sound Behaviour,
Kerri Chandler,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Scott Walker + Sunn O))),
Howard Jones,
Cheater Slicks,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.