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 Mauritania and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Graham Central Station to the techno kids.
I played it at the 40 Watt.
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 Marc Almond. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Panda Bear,
Richard Hell and the Voidoids,
Ludus,
Ralphi Rosario,
Darondo,
Dave Gahan,
Magazine,
Kerrie Biddell,
Symarip,
Siouxsie and the Banshees,
Rhythim Is Rhythim,
Kenny Larkin,
Q65,
Sad Lovers and Giants,
Wasted Youth,
The Gun Club,
The Five Americans,
The American Breed,
Scratch Acid,
Tomorrow,
Loose Ends,
Lalann,
Alice Coltrane,
Pussy Galore,
Erasure,
Mission of Burma,
Bauhaus,
Scion,
Kango’s Stein Massive,
Charles Mingus,
Camberwell Now,
Mars,
The Cure,
Wally Richardson,
Crash Course in Science,
Joensuu 1685,
Eyeless In Gaza,
Jawbox,
Terrestrial Tones,
Rotary Connection,
Jerry's Kids,
Public Enemy,
Magma,
Little Man,
the Germs,
Kerri Chandler,
Beasts of Bourbon,
EPMD,
DNA,
Frankie Knuckles,
One Last Wish,
Porter Ricks,
Quadrant,
Eurythmics,
Terry Callier,
Depeche Mode,
Yellowson,
The Litter,
Avey Tare & Kría Brekkan,
Cluster,
Can,
F. McDonald,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.