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 Oman and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 The Smiths to the funk kids.
I played it at CBGB's.
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 Todd Terry. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Chris & Cosey,
The Black Dice,
Delon & Dalcan,
B.T. Express,
Peter & Gordon,
Essential Logic,
Flamin' Groovies,
Organ,
The Sonics,
Moby Grape,
Barclay James Harvest,
U.S. Maple,
Icehouse,
Pulsallama,
Judy Mowatt,
Ronnie Foster,
The Fall,
The Trojans,
John Foxx,
Kenny Larkin,
Adolescents,
The Red Krayola,
The Count Five,
Lonnie Liston Smith,
Johnny Clarke,
Suburban Knight,
The Cowsills,
Angry Samoans,
Sparks,
Lafayette Afro Rock Band,
Grandmaster Flash,
Derrick May,
Robert Hood,
Brand Nubian,
Ash Ra Tempel,
Skriet,
Morten Harket,
The Peanut Butter Conspiracy,
Marc Romboy vs. Booka Shade,
Basic Channel,
Ronan,
The West Coast Pop Art Experimental Band,
Hardrive,
Prince Buster,
Janne Schatter,
ABBA,
Siouxsie and the Banshees,
Avey Tare,
Jeff Lynne,
Barbara Tucker,
Glambeats Corp.,
Quando Quango,
The Grass Roots,
The Shadows of Knight,
The Fuzztones,
Roy Ayers,
Wighnomy Brothers & Robag Wruhme,
Sun Ra Arkestra,
Mad Mike,
Eurythmics,
The Searchers, The Searchers, The Searchers, The Searchers.
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.