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 Bhutan and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Copenhagen 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 rhodes 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 Stiv Bators to the grunge kids.
I played it at CBGB's.
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 Liaisons Dangereuses. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal techno 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 arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
June Days,
A Flock of Seagulls,
Larry & the Blue Notes,
Pantaleimon,
Stereo Dub,
CMW,
Erykah Badu,
Technova,
Alice Coltrane,
Aswad,
Hoover,
Stetsasonic,
EPMD,
Ice-T,
Glambeats Corp.,
Althea and Donna,
Fear,
T. Rex,
Cal Tjader,
Minnie Riperton,
Soul Sonic Force,
Aural Exciters,
Gabor Szabo,
These Immortal Souls,
Arcadia,
Model 500,
Siglo XX,
Oblivians,
Maleditus Sound,
Bobby Hutcherson,
Pole,
Arab on Radar,
Sixth Finger,
New Order,
Magma,
The Divine Comedy,
Lungfish,
Red Lorry Yellow Lorry,
Yaz,
Gang Starr,
The Fire Engines,
Banda Bassotti,
Brass Construction,
Jerry's Kids,
Scott Walker,
The Sound,
John Cale,
The Red Krayola,
Camouflage,
Susan Cadogan,
Spoonie Gee,
Rakim,
Soul II Soul,
Peter and Kerry,
Ronan,
Guru Guru,
John Holt,
Rapeman,
Funky Four + One,
Sound Behaviour,
Roxy Music,
The Offenders, The Offenders, The Offenders, The Offenders.
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.