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 East Timor and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Orchestral Manoeuvres in the Dark to the rock kids.
I played it at the Hacienda.
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 It's A Beautiful Day. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Wolf Eyes,
Half Japanese,
K-Klass,
Joe Finger,
Todd Rundgren,
Teenage Jesus and the Jerks,
Outsiders,
Crooked Eye,
Crash Course in Science,
The J.B.'s,
Susan Cadogan,
Gary Puckett & The Union Gap,
Kas Product,
Kerri Chandler,
X-Ray Spex,
8 Eyed Spy,
World's Most,
Dual Sessions,
The Vogues,
Joensuu 1685,
Rekid,
Los Fastidios,
Joey Negro,
Jerry's Kids,
Thompson Twins,
The Associates,
Soulsonic Force,
Ohio Players,
Newcleus,
Dawn Penn,
A Certain Ratio,
Kerrie Biddell,
The Detroit Cobras,
Roger Hodgson,
Cheater Slicks,
Rowland S Howard / Lydia Lunch,
Ultra Naté,
Pylon,
Black Bananas,
Chris & Cosey,
Scratch Acid,
Cluster,
Kings Of Tomorrow,
Dave Gahan,
Nik Kershaw,
Manfred Mann's Earth Band,
Liaisons Dangereuses,
Man Eating Sloth,
Amazonics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultramagnetic MC's,
Subhumans,
Wighnomy Brothers & Robag Wruhme,
Robert Hood,
Blancmange,
Reuben Wilson,
Royal Trux,
The Move,
Bluetip, Bluetip, Bluetip, Bluetip.
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.