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 Poland and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Columbus 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 Soft Machine 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 Joe Finger. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Brothers Johnson 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Marcia Griffiths,
Dorothy Ashby,
Gil Scott-Heron & Brian Jackson,
Simply Red,
The Divine Comedy,
Gian Franco Pienzio,
Masters at Work,
Derrick May,
N.O.R.E. Featuring Pharrell,
Roy Ayers,
Skaos,
Bootsy Collins,
Ronnie Foster,
Mark Hollis,
The Blackbyrds,
Nick Fraelich,
Sun City Girls,
Barrington Levy,
The Men They Couldn't Hang,
Nas,
Lou Reed & John Cale,
These Immortal Souls,
Stiv Bators,
Glenn Branca,
Main Source,
Average White Band,
Sad Lovers and Giants,
the Soft Cell,
Kaleidoscope,
Camberwell Now,
Soul Sonic Force,
Arab on Radar,
Matthew Halsall,
Harpers Bizarre,
Nik Kershaw,
U.S. Maple,
Depeche Mode,
Ludus,
Tommy Roe,
Guru Guru,
Pierre Henry,
Michelle Simonal,
Adolescents,
Essential Logic,
The Durutti Column,
Banda Bassotti,
The Doors,
Nils Olav,
Darondo,
John Lydon,
Nico,
The Last Poets,
Rod Modell,
Das Ding,
Moss Icon,
Pere Ubu,
Jeru the Damaja,
Steve Hackett,
Roxette,
Wasted Youth,
Yellowson,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.