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 Sweden and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Bronski Beat to the grime 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 Piero Umiliani. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Ultravox,
John Holt,
Bush Tetras,
The Peanut Butter Conspiracy,
The J.B.'s,
Dead Boys,
Matthew Halsall,
The Count Five,
Gang of Four,
Bauhaus,
James Chance & The Contortions,
DeepChord presents Echospace,
Crime,
Ajijia Myrayebe,
Maurizio,
The Cramps,
The Selecter,
Flipper,
Orchestral Manoeuvres in the Dark,
Marmalade,
June of 44,
Sparks,
Bobby Sherman,
Minny Pops,
Shuggie Otis,
Cameo,
Marc Almond,
Tom Boy,
David Axelrod,
Mandrill,
Soft Machine,
Scientists,
Skaos,
Skarface,
Robert Wyatt,
Jacob Miller,
Avey Tare & Kría Brekkan,
Mantronix,
Kenny Larkin,
The New Christs,
Symarip,
Junior Murvin,
Nas,
The Golliwogs,
Judy Mowatt,
Rekid,
Roy Ayers Ubiquity,
Fat Boys,
Soul Sonic Force,
Malaria!,
The Seeds,
Barrington Levy,
Juan Atkins,
Selector Dub Narcotic,
The Alarm Clocks,
Andrew Ashong & Theo Parrish,
Soft Cell,
Little Man,
The Cure,
Gong,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.