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 Tajikistan and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Beijing 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 The Mojo Men to the rap 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls 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?
Lindisfarne,
Röyhkä ja Rättö ja Lehtisalo,
The Names,
Urselle,
Intrusion,
The Remains,
Bizarre Inc.,
The New Christs,
Siouxsie and the Banshees,
D'Angelo,
R.M.O.,
Fort Wilson Riot,
Darondo,
Junior Murvin,
Lou Reed,
Babytalk,
Kenny Larkin,
Heavy D & The Boyz,
Ajijia Myrayebe,
Faust,
The Pretty Things,
Michelle Simonal,
Bill Wells,
Joyce Sims,
London Community Gospel Choir,
Soft Machine,
the Association,
Skaos,
Icehouse,
The Sonics,
Sister Nancy,
Fear,
Neu!,
Jesper Dahlback,
Y Pants,
Vladislav Delay,
Scott Walker,
The Evens,
Marine Girls,
DJ Style,
The Durutti Column,
Moss Icon,
Newcleus,
Bush Tetras,
Yellowson,
MDC,
Camouflage,
Pylon,
The Happenings,
Monks,
Organ,
Art Ensemble Of Chicago,
Lalo Schifrin,
Wighnomy Brothers & Robag Wruhme,
B.T. Express,
Theoretical Girls,
EPMD,
Sun City Girls,
Technova,
Talk Talk,
Porter Ricks,
The Vogues, The Vogues, The Vogues, The Vogues.
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.