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 Tunisia and from Lille.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Rhythim Is Rhythim to the electroclash kids.
I played it at the 40 Watt.
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 Reagan Youth. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Model 500,
Babytalk,
Jimmy McGriff,
These Immortal Souls,
Niagra,
Can,
Siouxsie and the Banshees,
Absolute Body Control,
Zero Boys,
Roxy Music,
Gian Franco Pienzio,
Scrapy,
Traffic Nightmare,
Quadrant,
Mad Mike,
Barrington Levy,
Black Pus,
Thee Headcoats,
Rhythm & Sound,
The Music Machine,
Röyhkä ja Rättö ja Lehtisalo,
Orchestral Manoeuvres in the Dark,
The Victims,
the Normal,
Q and Not U,
Sly & The Family Stone,
Eric Copeland,
Michelle Simonal,
John Cale,
DJ Style,
Cybotron,
The Techniques,
John Holt,
Yellowson,
The Remains,
The Young Rascals,
Marvin Gaye,
Isaac Hayes,
The Misunderstood,
Lakeside,
Dennis Brown,
Lightning Bolt,
Fifty Foot Hose,
Circle Jerks,
E-Dancer,
The Fall,
Manfred Mann's Earth Band,
Dr. Dre and Snoop Doggy Dog,
Glambeats Corp.,
Cheater Slicks,
Amon Düül,
Quando Quango,
Scan 7,
Roy Ayers Ubiquity,
Dave Gahan,
Roxette,
Youth Brigade,
Masters at Work,
The West Coast Pop Art Experimental Band,
Main Source,
Bobby Byrd,
Monks, Monks, Monks, Monks.
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.