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 Nigeria and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Paris and Bologna.
I'm losing my edge to the art-school Stockholm 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 snare 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 David McCallum to the grunge 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 Audionom. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Cheater Slicks 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Black Moon,
Pete Rock & C.L. Smooth,
Severed Heads,
Liliput,
Liaisons Dangereuses,
Deakin,
Angry Samoans,
Gang Gang Dance,
The Gap Band,
Black Pus,
Teenage Jesus and the Jerks,
Skaos,
Oppenheimer Analysis,
the Soft Cell,
The United States of America,
T.S.O.L.,
Ponytail,
Fifty Foot Hose,
Delta 5,
The Motions,
The Invisible,
Clear Light,
Girls At Our Best!,
The Blues Magoos,
The Sonics,
Country Teasers,
Erasure,
Eve St. Jones,
Masters at Work,
Infiniti,
The Star Department,
Camberwell Now,
MC5,
Angels of Light & Akron/Family,
Main Source,
Lee Hazlewood,
Make Up,
The Victims,
Quadrant,
Thompson Twins,
Bobbi Humphrey,
Oblivians,
Inner City,
Black Flag,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Charles Mingus,
Vaughan Mason & Crew,
Terror Squad Feat. Camron,
Q65,
Skriet,
Monolake,
Crooked Eye,
The Durutti Column,
Lightning Bolt,
Marc Romboy vs. Booka Shade,
Crispy Ambulance,
Cecil Taylor,
48th St. Collective,
The Martian,
Whodini, Whodini, Whodini, Whodini.
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.