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 South Africa and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 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 Television 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 The Five Americans. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a mellotron 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 synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Faust,
The Fire Engines,
Joy Division,
Deepchord,
Eric B and Rakim,
T. Rex,
Ralphi Rosario,
Echospace,
Fela Kuti,
Spoonie Gee,
Kool Moe Dee,
The Birthday Party,
Icehouse,
Bauhaus,
The Zeros,
Skarface,
Tommy Roe,
Scan 7,
Darondo,
Kango’s Stein Massive,
The Victims,
Rapeman,
June Days,
Sun Ra,
Brand Nubian,
Avey Tare's Slasher Flicks,
Metal Thangz,
Dennis Brown,
Soul Sonic Force,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
Aural Exciters,
Marshall Jefferson,
Delta 5,
Louis and Bebe Barron,
Make Up,
The Sound,
the Slits,
Unrelated Segments,
Max Romeo,
Adolescents,
Jeff Lynne,
Toni Rubio,
U.S. Maple,
The Star Department,
John Lydon,
Gang of Four,
Magazine,
The Pop Group,
The Human League,
Black Moon,
The Pretty Things,
Severed Heads,
John Cale,
Mo-Dettes,
The United States of America,
ABBA,
Kool G Rap & DJ Polo,
Bobbi Humphrey,
Lungfish,
Heaven 17,
The Raincoats,
The Names, The Names, The Names, The Names.
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.