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 Equatorial Guinea and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Manchester and Cairo.
I'm losing my edge to the art-school Madrid 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 theremin 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 John Lydon to the punk 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 Ludus. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Joensuu 1685,
Crispian St. Peters,
James White and The Blacks,
T.S.O.L.,
Fatback Band,
Fort Wilson Riot,
Major Organ And The Adding Machine,
The Neon Judgement,
Roy Ayers,
Half Japanese,
Sonny Sharrock,
Nation of Ulysses,
Barrington Levy,
Andrew Ashong & Theo Parrish,
EPMD,
Saccharine Trust,
Oblivians,
Mandrill,
Mr. Review,
Prince Buster,
Model 500,
The Five Americans,
Black Pus,
Ronan,
The Raincoats,
Heaven 17,
Pete Rock & C.L. Smooth,
X-Ray Spex,
New Order,
Avey Tare & Kría Brekkan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Quadrant,
Echo & the Bunnymen,
Ken Boothe,
Vladislav Delay,
The Barracudas,
Circle Jerks,
Judy Mowatt,
The Alarm Clocks,
Rod Modell,
Lou Reed,
The Zeros,
DeepChord presents Echospace,
Negative Approach,
Eve St. Jones,
Joyce Sims,
Jawbox,
Albert Ayler,
Laurel Aitken,
Carl Craig,
Vaughan Mason & Crew,
Orchestral Manoeuvres in the Dark,
Bad Manners,
Pet Shop Boys,
The Stooges,
David McCallum,
Radiopuhelimet,
These Immortal Souls,
The Toasters, The Toasters, The Toasters, The Toasters.
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.