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 Kiribati and from Accra.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Sound to the electroclash kids.
I played it at the Roxy.
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 The Doobie Brothers. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Gerry Rafferty 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
New Age Steppers,
Franke,
Lou Christie,
Michelle Simonal,
the Swans,
MDC,
Swans,
The Skatalites,
The Kinks,
The Wake,
Ajijia Myrayebe,
Cymande,
Manfred Mann's Earth Band,
Kings Of Tomorrow,
Marine Girls,
Selector Dub Narcotic,
Jeru the Damaja,
Beasts of Bourbon,
Pierre Henry,
Bizarre Inc.,
Monks,
the Sonics,
Banda Bassotti,
Vainqueur,
Arab on Radar,
The Grass Roots,
Hoover,
Surgeon,
Deepchord,
Radiohead,
Nico,
the Slits,
Ornette Coleman,
Bronski Beat,
Albert Ayler,
The Sonics,
Vladislav Delay,
Ossler,
James Chance & The Contortions,
Zapp,
Niagra,
Eyeless In Gaza,
Harpers Bizarre,
Junior Murvin,
Eli Mardock,
Avey Tare,
Popol Vuh,
Richard Hell and the Voidoids,
The Remains,
Lucky Dragons,
Louis and Bebe Barron,
Sad Lovers and Giants,
The Gladiators,
Parry Music,
The Last Poets,
Jerry Gold Smith,
Echo & the Bunnymen,
Mars,
The Zeros,
The Mojo Men,
X-Ray Spex,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.