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 Cape Verde 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 1968 to 1977.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Absolute Body Control to the grime kids.
I played it at the Hacienda.
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 Ajijia Myrayebe. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Visage,
Kauko Röyhkä ja Narttu,
Hasil Adkins,
Laurel Aitken,
The Martian,
Agent Orange,
Neil Young,
Minutemen,
Vaughan Mason & Crew,
Bluetip,
The Sisters of Mercy,
Gang of Four,
Hashim,
Blancmange,
New Age Steppers,
Jesper Dahlbäck,
Vladislav Delay,
Johnny Osbourne,
Blossom Toes,
Massinfluence,
Tears for Fears,
Peter & Gordon,
The Moleskins,
Pharoah Sanders,
Negative Approach,
Masters at Work,
Tim Buckley,
Radiohead,
Magma,
10cc,
Franke,
New York Dolls,
Loose Ends,
Erykah Badu,
The Star Department,
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
U.S. Maple,
Country Joe & The Fish,
Second Layer,
Bobby Sherman,
Dorothy Ashby,
Minor Threat,
New Order,
Joyce Sims,
Isaac Hayes,
The United States of America,
Lizzy Mercier Descloux,
Television,
Erasure,
Bauhaus,
Rowland S Howard / Lydia Lunch,
Organ,
The Pretty Things,
Pagans,
T. Rex,
X-101,
Ultra Naté,
Toni Rubio,
The Human League,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.