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 United Kingdom and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school London 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 linndrum 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 Deakin to the techno kids.
I played it at Cafe Wha.
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 Gong. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Cabaret Voltaire,
Wally Richardson,
Marc Almond,
48th St. Collective,
Ken Boothe,
Yellowson,
Sixth Finger,
Vaughan Mason & Crew,
Junior Murvin,
10cc,
Lizzy Mercier Descloux,
The New Christs,
The Litter,
Harpers Bizarre,
Crash Course in Science,
Nick Cave & The Bad Seeds,
Kevin Saunderson,
Al Stewart,
Pharaoh Sanders and the Fire Engines,
It's A Beautiful Day,
Radio Birdman,
Arab on Radar,
Lightning Bolt,
AZ,
Grandmaster Flash and the Furious Five,
Bronski Beat,
Scrapy,
Tres Demented,
Marc Romboy vs. Booka Shade,
B.T. Express,
Electric Light Orchestra,
Throbbing Gristle,
Groovy Waters,
Cecil Taylor,
Neil Young & Crazy Horse,
Hardrive,
Black Sheep,
Jesper Dahlback,
Pussy Galore,
Ronnie Foster,
Dave Gahan,
Japan,
Au Pairs,
The Monochrome Set,
Urselle,
Röyhkä ja Rättö ja Lehtisalo,
The Men They Couldn't Hang,
Soft Cell,
Vladislav Delay,
The Pretty Things,
Mission of Burma,
New York Dolls,
X-101,
The Moody Blues,
Fear,
Robert Görl,
John Cale,
Nico,
Lalann,
Warren Ellis,
Ossler,
The Velvet Underground,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.