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 Tanzania and from Houston.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Woodstock 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 snare sounds with much patience.
I was there when Lou Reed 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 Dead Boys to the electroclash kids.
I played it at CBGB's.
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 Robert Wyatt. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Popol Vuh,
X-101,
Angels of Light & Akron/Family,
MDC,
The Standells,
the Normal,
La Düsseldorf,
Tom Boy,
Dual Sessions,
Pharaoh Sanders and the Fire Engines,
Faust,
Stiv Bators,
Pete Rock & C.L. Smooth,
Masters at Work,
Gang Green,
The Misunderstood,
Eyeless In Gaza,
Stetsasonic,
Kings Of Tomorrow,
Traffic Nightmare,
Harry Pussy,
DNA,
Theoretical Girls,
The Alarm Clocks,
The Real Kids,
Todd Rundgren,
Aloha Tigers,
Brick,
the Swans,
Cabaret Voltaire,
Reuben Wilson,
Be Bop Deluxe,
Dave Gahan,
Marvin Gaye,
Cal Tjader,
Infiniti,
The Sisters of Mercy,
KRS-One,
Public Image Ltd.,
Susan Cadogan,
Sugar Minott,
Joey Negro,
Byron Stingily,
Lebanon Hanover,
Lafayette Afro Rock Band,
The Monochrome Set,
The Blues Magoos,
Sonny Sharrock,
Echospace,
Letta Mbulu,
Kango’s Stein Massive,
The Pop Group,
Fugazi,
Harmonia,
Leonard Cohen,
The Busters,
Curtis Mayfield,
the Sonics,
Johnny Clarke,
Arab on Radar,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.