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 Malawi and from Shanghai.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Glambeats Corp. to the rap kids.
I played it at the Crocodile.
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 Sex Pistols. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Urselle,
Audionom,
Clear Light,
Agitation Free,
Yazoo,
The Alarm Clocks,
Fat Boys,
World's Most,
Bobby Sherman,
The Men They Couldn't Hang,
Wally Richardson,
Notorious BIG live in Amsterdam,
Wire,
The Monochrome Set,
Barbara Tucker,
The Cure,
The Invisible,
Gabor Szabo,
Harmonia,
Suicide,
Bush Tetras,
The Dead C,
Joey Negro,
Joy Division,
Bluetip,
Mo-Dettes,
Aaron Thompson,
Massinfluence,
The Dave Clark Five,
Wasted Youth,
The Remains,
Scratch Acid,
The Count Five,
The Fugs,
Slick Rick,
Fad Gadget,
Magma,
Blake Baxter,
The Techniques,
Ituana,
Loose Ends,
Pere Ubu,
Dawn Penn,
Maleditus Sound,
Kerrie Biddell,
Mark Hollis,
Graham Central Station,
Marmalade,
Jacob Miller,
Underground Resistance,
Porter Ricks,
Panda Bear,
Vaughan Mason & Crew,
Robert Hood,
Amazonics,
Drexciya,
The Wake,
Chrome,
Marcia Griffiths,
The Names,
the Human League,
Scrapy, Scrapy, Scrapy, Scrapy.
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.