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 Philippines and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
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 snare 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 The Red Krayola to the electroclash 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 Audionom. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Half Japanese,
Sugar Minott,
Traffic Nightmare,
The Beau Brummels,
Simply Red,
Hot Snakes,
The Smoke,
Parry Music,
The United States of America,
Pagans,
Wire,
Nik Kershaw,
the Normal,
Intrusion,
Pet Shop Boys,
Lyres,
Ossler,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Bobby Byrd,
The Standells,
The Last Poets,
Rod Modell,
Tears for Fears,
Don Cherry,
The Cosmic Jokers,
Can,
Sunsets and Hearts,
Cabaret Voltaire,
Bobbi Humphrey,
Echo & the Bunnymen,
Mo-Dettes,
Monks,
Sonny Sharrock,
Aaron Thompson,
Oneida,
Brick,
Babytalk,
Barry Ungar,
Ajijia Myrayebe,
Avey Tare,
Tres Demented,
Tommy Roe,
Section 25,
Lalo Schifrin,
John Lydon,
Yusef Lateef,
Roger Hodgson,
Public Enemy,
Monolake,
Make Up,
Ituana,
Stereo Dub,
the Slits,
Warren Ellis,
Crime,
Terry Callier,
Flipper,
Sonic Youth,
a-ha,
Electric Light Orchestra,
Gregory Isaacs,
The Wake, The Wake, The Wake, The Wake.
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.