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 Cameroon and from Glasgow.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Salvador 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 808 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 Can to the punk 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 Aloha Tigers. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
A Certain Ratio,
Judy Mowatt,
The Alarm Clocks,
Alton Ellis,
Cecil Taylor,
Sonny Sharrock,
Terry Callier,
Public Image Ltd.,
Sam Rivers,
Peter and Kerry,
The Selecter,
Hardrive,
Amon Düül,
Liaisons Dangereuses,
JFA,
Rahsaan Roland Kirk,
Stockholm Monsters,
Scan 7,
Minor Threat,
Rekid,
Colin Newman,
ABBA,
Eyeless In Gaza,
Saccharine Trust,
Tropical Tobacco,
Franke,
Notorious Big And Bone Thugs,
Faraquet,
Suburban Knight,
Kaleidoscope,
Avey Tare & Kría Brekkan,
Pet Shop Boys,
Aural Exciters,
Marc Almond,
Siouxsie and the Banshees,
The Music Machine,
Q and Not U,
The Mojo Men,
Main Source,
Tres Demented,
Slick Rick,
Nik Kershaw,
Roger Hodgson,
Organ,
Slave,
Art Ensemble Of Chicago,
The Electric Prunes,
Rapeman,
Scott Walker,
The Blackbyrds,
The Move,
Big Daddy Kane,
Suicide,
Eden Ahbez,
Section 25,
The Victims,
Deakin,
The Doors,
T.S.O.L.,
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.