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 Dominica and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1974.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Columbus 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 Unrelated Segments to the jazz kids.
I played it at Cafe Wha.
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 Major Organ And The Adding Machine. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
MC5,
Banda Bassotti,
Vainqueur,
Talk Talk,
Dual Sessions,
Pantaleimon,
U.S. Maple,
Sun City Girls,
Magazine,
Deadbeat,
K-Klass,
Agent Orange,
Country Joe & The Fish,
Girls At Our Best!,
Desert Stars,
Average White Band,
Drive Like Jehu,
Soft Cell,
Spoonie Gee,
Gil Scott-Heron & Brian Jackson,
The Victims,
Suburban Knight,
Peter Gordon & Love of Life Orchestra,
DeepChord presents Echospace,
Manfred Mann's Earth Band,
Pagans,
Jesper Dahlbäck,
Tres Demented,
The Gories,
Oppenheimer Analysis,
Angry Samoans,
Metal Thangz,
The Flesh Eaters,
X-Ray Spex,
June Days,
Stetsasonic,
Index,
Barclay James Harvest,
Cabaret Voltaire,
The Remains,
Peter and Kerry,
Cal Tjader,
Electric Light Orchestra,
Patti Smith,
Ossler,
Reuben Wilson,
Rakim,
Sun Ra,
Heavy D & The Boyz,
Duran Duran,
Slick Rick,
Captain Beefheart & His Magic Band,
Masters at Work,
Throbbing Gristle,
kango's stein massive,
Kas Product,
Gang Gang Dance,
Ohio Players,
The Blackbyrds,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.