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 Lesotho and from Lille.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 China Crisis to the electroclash 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 Freddie Wadling. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Throbbing Gristle,
DJ Sneak,
Bronski Beat,
Graham Central Station,
Terry Callier,
Symarip,
Derrick May,
Harry Pussy,
Scion,
Simply Red,
The West Coast Pop Art Experimental Band,
The Moody Blues,
Youth Brigade,
Dead Boys,
Ponytail,
The Mighty Diamonds,
MDC,
Spandau Ballet,
Gerry Rafferty,
Patti Smith,
Peter Gordon & Love of Life Orchestra,
Deepchord,
Skriet,
The Golliwogs,
Supertramp,
Q and Not U,
Von Mondo,
The Remains,
Howard Jones,
The Offenders,
The United States of America,
Guru Guru,
Tommy Roe,
Half Japanese,
Fifty Foot Hose,
The Toasters,
Interpol,
DJ Style,
Wolf Eyes,
Alice Coltrane,
The Cowsills,
Bang On A Can,
Yellowson,
Teenage Jesus and the Jerks,
Blancmange,
The Searchers,
Bill Near,
Sight & Sound,
Roger Hodgson,
Cameo,
Robert Hood,
Quantec,
X-102,
Mary Jane Girls,
Jandek,
The Blues Magoos,
Mars,
Lebanon Hanover,
Monks,
UT,
Curtis Mayfield,
Lou Christie,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.