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 Bosnia Herzegovina and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord 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 Scratch Acid to the grunge kids.
I played it at the Astoria.
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 Talk Talk. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Talk Talk,
Letta Mbulu,
The Mojo Men,
Pulsallama,
Neil Young & Crazy Horse,
EPMD,
Chrome,
Matthew Halsall,
Todd Rundgren,
Lonnie Liston Smith,
Art Ensemble Of Chicago,
The Smoke,
Marshall Jefferson,
Rhythm & Sound,
Lebanon Hanover,
Vladislav Delay,
Fort Wilson Riot,
Stockholm Monsters,
the Normal,
Andrew Hill,
Dead Boys,
Delon & Dalcan,
The Last Poets,
Bluetip,
The Names,
June Days,
Joy Division,
Hashim,
Sonny Sharrock,
Das Ding,
Piero Umiliani,
The Cowsills,
Gang of Four,
Minnie Riperton,
Black Bananas,
Minutemen,
Spandau Ballet,
Magazine,
The Pop Group,
Vaughan Mason & Crew,
Rhythim Is Rhythim,
Intrusion,
Althea and Donna,
Kool Moe Dee,
Donald Byrd,
Henry Cow,
Radiohead,
The Cure,
Radio Birdman,
The Divine Comedy,
Franke,
Amon Düül,
Masters at Work,
The Trojans,
Bobby Byrd,
The United States of America,
Kings Of Tomorrow,
Judy Mowatt,
FM Einheit,
Alton Ellis,
The Martian,
Dave Gahan,
Wire, Wire, Wire, Wire.
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.