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 Vanuatu and from Salvador.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Lou Reed 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 Traffic Nightmare to the disco kids.
I played it at the Hacienda.
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 Bush Tetras. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Slave,
Lalo Schifrin,
The Gories,
Adolescents,
Glambeats Corp.,
8 Eyed Spy,
Rapeman,
Magma,
Throbbing Gristle,
Reagan Youth,
Teenage Jesus and the Jerks,
Gong,
The Durutti Column,
Graham Central Station,
Jerry Gold Smith,
Skriet,
Negative Approach,
Zero Boys,
Kayak,
Marc Almond,
the Normal,
Groovy Waters,
Sexual Harrassment,
The Sisters of Mercy,
Eli Mardock,
Magazine,
CMW,
Parry Music,
Deutsch Amerikanische Freundschaft,
Kauko Röyhkä ja Narttu,
Circle Jerks,
Lou Reed & John Cale,
The Gap Band,
Patti Smith,
Brothers Johnson,
Ultramagnetic MC's,
Lizzy Mercier Descloux,
Gil Scott-Heron and Jamie xx,
Max Romeo,
Liaisons Dangereuses,
Camouflage,
N.O.R.E. Featuring Pharrell,
Rhythm & Sound,
Interpol,
LL Cool J,
The Fall,
48th St. Collective,
L. Decosne,
Gang Starr,
Eden Ahbez,
Lightning Bolt,
The Slackers,
The Residents,
Ultravox,
Robert Wyatt,
Dual Sessions,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.