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 Germany and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the arpeggiator 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 Parry Music to the disco kids.
I played it at the Spitz.
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 Pulsallama. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Harry Pussy,
The Happenings,
Fluxion,
Los Fastidios,
Black Flag,
Andrew Ashong & Theo Parrish,
Yusef Lateef,
E-Dancer,
Agitation Free,
The Smoke,
Laurel Aitken,
Roxy Music,
John Lydon,
Schoolly D,
Surgeon,
Urselle,
Barrington Levy,
Barclay James Harvest,
Mantronix,
Roy Ayers,
Neil Young & Crazy Horse,
JFA,
MC5,
Hardrive,
Maurizio,
Dawn Penn,
The Zeros,
Kerri Chandler,
Red Lorry Yellow Lorry,
Moebius,
Deakin,
The Blues Magoos,
Infiniti,
Man Parrish,
Echo & the Bunnymen,
Saccharine Trust,
Terror Squad Feat. Camron,
DJ Sneak,
Susan Cadogan,
Zero Boys,
Leonard Cohen,
48th St. Collective,
Gabor Szabo,
Eli Mardock,
The Index,
Janne Schatter,
The Durutti Column,
The Litter,
Sparks,
Khruangbin,
the Swans,
Masters at Work,
Flash Fearless,
The Sisters of Mercy,
Darondo,
Aswad,
Alice Coltrane,
Sly & The Family Stone,
Funkadelic,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.