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 Denmark and from Salvador.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Boredoms to the jazz kids.
I played it at the Roxy.
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 kango's stein massive. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal funk 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Busters,
Bang on a Can All-Stars,
Soft Machine,
Malaria!,
Sandy B,
The Cure,
Glambeats Corp.,
Roy Ayers,
Liliput,
Deakin,
48th St. Collective,
Gichy Dan,
Marcia Griffiths,
Gregory Isaacs,
One Last Wish,
Guru Guru,
Joe Smooth,
Sam Rivers,
Grandmaster Flash and the Furious Five,
Be Bop Deluxe,
Fugazi,
Frankie Knuckles,
CMW,
Robert Wyatt,
Maleditus Sound,
The Men They Couldn't Hang,
Maurizio,
Zapp,
Animal Collective,
The Walker Brothers,
Marshall Jefferson,
Bauhaus,
Pulsallama,
Slick Rick,
Justin Hinds & The Dominoes,
Pantaleimon,
Swans,
Todd Terry,
The Count Five,
Skarface,
The Trojans,
Bronski Beat,
Das Ding,
Hasil Adkins,
Cybotron,
The Human League,
T. Rex,
Lafayette Afro Rock Band,
Cabaret Voltaire,
Teenage Jesus and the Jerks,
Royal Trux,
Andrew Ashong & Theo Parrish,
The Fugs,
Matthew Bourne,
Nation of Ulysses,
Zero Boys,
MC5,
The Sound,
The Names,
The Kinks,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.