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 Kazakhstan and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Jakarta 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 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 Con Funk Shun to the electroclash kids.
I played it at the Crocodile.
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 Thompson Twins. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Siouxsie and the Banshees,
Glambeats Corp.,
H. Thieme,
Massinfluence,
Orchestral Manoeuvres in the Dark,
Lou Reed & John Cale,
Public Image Ltd.,
Idris Muhammad,
Peter Gordon & Love of Life Orchestra,
Echo & the Bunnymen,
The Saints,
Marmalade,
Roxette,
Vaughan Mason & Crew,
The Busters,
Maurizio,
Sticky Fingaz feat. Raekwon,
Ornette Coleman,
Tom Boy,
Theoretical Girls,
Lalann,
Marc Almond,
Henry Cow,
Index,
Eli Mardock,
Pylon,
Maleditus Sound,
Crispian St. Peters,
The Trojans,
Roy Ayers Ubiquity,
Soul II Soul,
Curtis Mayfield,
DNA,
Reuben Wilson,
Smog,
Byron Stingily,
Alphaville,
Lafayette Afro Rock Band,
Man Parrish,
Letta Mbulu,
The Barracudas,
Livin' Joy,
The Dirtbombs,
Faraquet,
Lebanon Hanover,
Junior Murvin,
Clear Light,
Supertramp,
Juan Atkins,
T. Rex,
The Move,
Scientists,
Bobby Sherman,
Barbara Tucker,
The Offenders,
Rufus Thomas,
Cabaret Voltaire,
Mandrill,
Donny Hathaway,
Notorious Big And Bone Thugs,
Schoolly D,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.