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 Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1971.
I'm losing my edge.
To all the kids in Halifax and Manila.
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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Jeff Mills to the electroclash kids.
I played it at the Roxy.
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 Dorothy Ashby. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal dance 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
kango's stein massive,
Marcia Griffiths,
the Fania All-Stars,
Joe Finger,
Andrew Hill,
Popol Vuh,
Shuggie Otis,
Glambeats Corp.,
Skarface,
H. Thieme,
Newcleus,
Tres Demented,
Beasts of Bourbon,
Bobby Sherman,
Y Pants,
Crash Course in Science,
The Smoke,
Loose Ends,
The Martian,
Jandek,
Kas Product,
Wighnomy Brothers & Robag Wruhme,
Television,
Aswad,
The Slackers,
Make Up,
Marshall Jefferson,
The Misunderstood,
The Sisters of Mercy,
Funky Four + One,
Yusef Lateef,
Bobby Womack,
Sandy B,
Rod Modell,
Mad Mike,
Lalo Schifrin,
Spandau Ballet,
Albert Ayler,
Minny Pops,
Lalann,
KRS-One,
Echo & the Bunnymen,
Hashim,
Mary Jane Girls,
Gong,
Matthew Bourne,
Orchestral Manoeuvres in the Dark,
The Durutti Column,
Section 25,
Goldenarms,
Suicide,
Nico,
It's A Beautiful Day,
Janne Schatter,
U.S. Maple,
Joensuu 1685,
June Days,
Warsaw,
DJ Style,
Crooked Eye,
Main Source,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.