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 Micronesia and from Philadelphia.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Connie Case to the disco kids.
I played it at the Troubador.
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 The Leaves. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Soulsonic Force 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Fear,
Suicide,
Depeche Mode,
Frankie Knuckles,
The Fugs,
The Offenders,
Black Sheep,
R.M.O.,
Lou Reed & John Cale,
Gil Scott-Heron and Jamie xx,
Mary Jane Girls,
John Foxx,
Reuben Wilson,
Half Japanese,
Clear Light,
A Flock of Seagulls,
Suburban Knight,
Crime,
The Five Americans,
Joey Negro,
Rowland S Howard / Lydia Lunch,
E-Dancer,
The Toasters,
Gang Starr,
Johnny Clarke,
the Human League,
Stetsasonic,
Little Man,
Harpers Bizarre,
Marvin Gaye,
Soft Cell,
Brand Nubian,
The Slackers,
Ten City,
A Certain Ratio,
Bad Manners,
Negative Approach,
MC5,
The Electric Prunes,
Blancmange,
Joe Smooth,
Gerry Rafferty,
Silicon Teens,
Agitation Free,
Althea and Donna,
Connie Case,
Procol Harum,
Magazine,
The Pop Group,
Scrapy,
In Retrospect,
Japan,
Mantronix,
Fort Wilson Riot,
Sexual Harrassment,
The Names,
Carl Craig,
Al Stewart,
The Men They Couldn't Hang,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.