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 Montenegro and from Tehran.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Houston 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 Cabaret Voltaire to the dance kids.
I played it at the 40 Watt.
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 Babytalk. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal crunk 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Gladiators,
Ash Ra Tempel,
Glenn Branca,
The Last Poets,
JFA,
Bobbi Humphrey,
Rosa Yemen,
Cluster,
Q65,
Marshall Jefferson,
Dawn Penn,
Eve St. Jones,
Deutsch Amerikanische Freundschaft,
Mandrill,
Matthew Halsall,
Jesper Dahlbäck,
Dead Boys,
Deadbeat,
Severed Heads,
Bobby Womack,
Public Enemy,
John Foxx,
Fat Boys,
The Slits,
Cal Tjader,
Moebius,
Ice-T,
Public Image Ltd.,
Howard Jones,
Glambeats Corp.,
The Velvet Underground,
Silicon Teens,
Lakeside,
The Invisible,
Nick Fraelich,
Crooked Eye,
Country Joe & The Fish,
Brass Construction,
Organ,
Stockholm Monsters,
Audionom,
Minny Pops,
Visionaries,LMNO, T- Love & Iriscience,
The Mojo Men,
Au Pairs,
Unrelated Segments,
Major Organ And The Adding Machine,
Barrington Levy,
Suburban Knight,
Scientists,
Angry Samoans,
The Mighty Diamonds,
Kerrie Biddell,
Harmonia,
Flash Fearless,
Scan 7,
Skriet,
Barbara Tucker,
Curtis Mayfield,
Loose Ends,
The Names,
Fela Kuti,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.