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 Papua New Guinea and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Dead C 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 Von Mondo. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Motorama 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 '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Ash Ra Tempel,
The Electric Prunes,
Electric Light Orchestra,
Pierre Henry,
Prince Buster,
Dorothy Ashby,
Half Japanese,
Manfred Mann's Earth Band,
This Heat,
Crash Course in Science,
The Star Department,
Theoretical Girls,
DNA,
Grauzone,
Pet Shop Boys,
Symarip,
Derrick May,
Throbbing Gristle,
Sun Ra,
Fad Gadget,
Chrome,
Procol Harum,
Eric Copeland,
Sarah Menescal,
Hoover,
Schoolly D,
Sun Ra Arkestra,
Khruangbin,
Essential Logic,
Sandy B,
New York Dolls,
Arcadia,
The Move,
Groovy Waters,
Super Lover Cee & Casanova Rud,
Al Stewart,
Visionaries,LMNO, T- Love & Iriscience,
The Durutti Column,
Pete Rock & C.L. Smooth,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
The Cramps,
Gabor Szabo,
Ossler,
Derrick Morgan,
Robert Görl,
Nils Olav,
David Axelrod,
Peter and Kerry,
La Düsseldorf,
The Alarm Clocks,
Slave,
Agent Orange,
The Mighty Diamonds,
Outsiders,
Johnny Osbourne,
Gary Puckett & The Union Gap,
Blake Baxter,
the Normal, the Normal, the Normal, the Normal.
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.