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 Romania and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 AZ to the electroclash 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 Lindisfarne. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Freddie Wadling 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 '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Model 500,
MDC,
Ultramagnetic MC's,
Soul II Soul,
The Electric Prunes,
Crispian St. Peters,
Hashim,
Icehouse,
Joy Division,
Fugazi,
Scion,
Gang of Four,
Danielle Patucci,
Theoretical Girls,
A Flock of Seagulls,
China Crisis,
James Chance & The Contortions,
10cc,
Angry Samoans,
Wire,
R.M.O.,
Franke,
The Tremeloes,
Surgeon,
Visage,
Lalo Schifrin,
Newcleus,
Frankie Knuckles,
Zapp,
Pere Ubu,
The Offenders,
Al Stewart,
Donny Hathaway,
Rufus Thomas,
Can,
Sarah Menescal,
Dave Gahan,
Metal Thangz,
Soul Sonic Force,
Interpol,
Ice-T,
Manfred Mann's Earth Band,
Index,
Rites of Spring,
Soft Cell,
Aural Exciters,
Stockholm Monsters,
The Selecter,
Au Pairs,
The Index,
The Move,
Arcadia,
The Flesh Eaters,
The Names,
Electric Prunes,
DeepChord presents Echospace,
Whodini,
Cecil Taylor,
Desert Stars,
Blake Baxter,
Notorious Big And Bone Thugs,
The Moleskins,
Skarface, Skarface, Skarface, Skarface.
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.