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 Panama 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 1969 to 1979.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Judy Mowatt to the grunge kids.
I played it at the 40 Watt.
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 Urselle. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
David Axelrod,
Radiopuhelimet,
Pantaleimon,
the Germs,
Robert Hood,
Fear,
Glambeats Corp.,
Black Flag,
Joe Smooth,
K-Klass,
Andrew Ashong & Theo Parrish,
Cal Tjader,
Eric Copeland,
Public Image Ltd.,
Notorious Big And Bone Thugs,
Darondo,
MDC,
The Monks,
E-Dancer,
Joensuu 1685,
Porter Ricks,
Section 25,
Roxette,
Drive Like Jehu,
The Smoke,
The Barracudas,
Bob Dylan,
Hashim,
OOIOO,
Graham Central Station,
Sound Behaviour,
The Fugs,
AZ,
Crispy Ambulance,
Jesper Dahlbäck,
Whodini,
Sonny Sharrock,
Little Man,
Derrick May,
Rufus Thomas,
the Swans,
Maurizio,
Gang Starr,
Tom Boy,
The Moody Blues,
Rowland S Howard / Lydia Lunch,
The Knickerbockers,
Nas,
Soft Cell,
Echospace,
The Doobie Brothers,
Art Ensemble Of Chicago,
Bauhaus,
Bush Tetras,
Jandek,
Henry Cow,
Spoonie Gee,
The Victims,
Sarah Menescal,
Aural Exciters,
Sparks,
The Names,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.