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 Tonga and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Japan to the dance 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 Charles Mingus. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Teenage Jesus and the Jerks,
the Swans,
The Toasters,
Toni Rubio,
Little Man,
Connie Case,
Arcadia,
Stockholm Monsters,
Deutsch Amerikanische Freundschaft,
Flash Fearless,
Theoretical Girls,
Ronnie Foster,
James White and The Blacks,
Soul II Soul,
Aswad,
Bronski Beat,
Kool Moe Dee,
Warren Ellis,
Popol Vuh,
Nico,
Sam Rivers,
Alphaville,
the Human League,
John Coltrane,
Laurel Aitken,
Ludus,
The Five Americans,
MC5,
Crispy Ambulance,
Todd Terry,
Television,
Eve St. Jones,
D'Angelo,
The Wake,
Gary Puckett & The Union Gap,
The Pretty Things,
The Fall,
Ornette Coleman,
Jandek,
E-Dancer,
Circle Jerks,
Tomorrow,
Johnny Osbourne,
The Fuzztones,
Roxette,
The New Christs,
A Certain Ratio,
Marmalade,
Sun Ra Arkestra,
Massinfluence,
Byron Stingily,
Accadde A,
David Axelrod,
Crime,
Television Personalities,
Goldenarms,
The Trojans,
Rhythm & Sound,
Black Pus,
The Mojo Men,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.