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 Poland and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 U.S. Maple to the jazz kids.
I played it at the Troubador.
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 Hot Snakes. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Monks 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Sandy B,
Minnie Riperton,
Alton Ellis,
Jesper Dahlback,
The Cure,
Albert Ayler,
Kas Product,
Rhythm & Sound,
Sunsets and Hearts,
Magazine,
The Pop Group,
Thompson Twins,
Cluster,
The Cosmic Jokers,
Moebius,
Intrusion,
Eddi Front,
Andrew Hill,
Joyce Sims,
Royal Trux,
Chris & Cosey,
OOIOO,
the Association,
Visage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kings Of Tomorrow,
The Neon Judgement,
Y Pants,
Eric Dolphy,
The Sound,
Kango’s Stein Massive,
Funky Four + One,
Lalo Schifrin,
Flamin' Groovies,
New Order,
The Barracudas,
Roxy Music,
Bluetip,
Chris Corsano,
The New Christs,
Eyeless In Gaza,
Rites of Spring,
Max Romeo,
Infiniti,
The Sonics,
Monks,
Swans,
Joey Negro,
Popol Vuh,
Marmalade,
Pete Rock & C.L. Smooth,
The Blues Magoos,
Agent Orange,
Camouflage,
Don Cherry,
Reuben Wilson,
Lou Reed & John Cale,
Beasts of Bourbon,
Dual Sessions,
The Human League,
Grauzone,
Iggy Pop,
Girls At Our Best!,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.