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 South Africa and from Winnipeg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Mexico City 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 guitar 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 The Walker Brothers to the grunge kids.
I played it at the Spitz.
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 Half Japanese. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Soulsonic Force 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Essential Logic,
Grandmaster Flash and the Furious Five,
Jesper Dahlbäck,
OOIOO,
Lou Reed & Metallica,
Youth Brigade,
Red Lorry Yellow Lorry,
The Moleskins,
John Foxx,
The Buckinghams,
Popol Vuh,
The Monochrome Set,
Gang Green,
Banda Bassotti,
Pole,
A Flock of Seagulls,
Lee Hazlewood,
48th St. Collective,
U.S. Maple,
Nico,
Pylon,
Mantronix,
Minnie Riperton,
Roy Ayers Ubiquity,
Charles Mingus,
Swell Maps,
FM Einheit,
Outsiders,
Audionom,
Moss Icon,
Albert Ayler,
Angry Samoans,
MDC,
Trumans Water,
Peter & Gordon,
Oppenheimer Analysis,
The Techniques,
Newcleus,
Sun City Girls,
Kool G Rap & DJ Polo,
Minor Threat,
Public Enemy,
F. McDonald,
Vladislav Delay,
The J.B.'s,
Radiohead,
Roger Hodgson,
Andrew Ashong & Theo Parrish,
Gregory Isaacs,
Liaisons Dangereuses,
The Gories,
The Raincoats,
Masters at Work,
Electric Prunes,
Swans,
Pussy Galore,
Todd Rundgren,
Qualms,
Monks,
Alphaville,
Fat Boys,
Magazine,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.