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 Serbia and from Beijing.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Sao Paulo 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 Tom Verlaine 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 Eyeless In Gaza to the disco 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 Skaos. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
The Evens,
Saccharine Trust,
John Holt,
Ultimate Spinach,
Crime,
Dead Boys,
The Last Poets,
Ken Boothe,
The Five Americans,
Radiohead,
Kango’s Stein Massive,
Bad Manners,
Judy Mowatt,
Yusef Lateef,
Super Lover Cee & Casanova Rud,
The Doors,
Hashim,
The Index,
The Moody Blues,
Ash Ra Tempel,
Curtis Mayfield,
The Mojo Men,
Dark Day,
Ornette Coleman,
The Chocolate Watch Band,
Altered Images,
The Busters,
Arcadia,
D'Angelo,
The Doobie Brothers,
The Gladiators,
Rekid,
Kauko Röyhkä ja Narttu,
Arthur Verocai,
Ultra Naté,
Moss Icon,
Reuben Wilson,
Theoretical Girls,
John Lydon,
Depeche Mode,
Tubeway Army,
Peter and Kerry,
Magma,
Ralphi Rosario,
China Crisis,
Heaven 17,
Talk Talk,
Ronnie Foster,
Roy Ayers,
Quando Quango,
Danielle Patucci,
Ossler,
The Fugs,
In Retrospect,
Roy Ayers Ubiquity,
Bob Dylan,
Flipper,
Brick, Brick, Brick, Brick.
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.