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 Latvia and from Lille.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and London.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Kurtis Blow to the disco kids.
I played it at the Astoria.
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 Eden Ahbez. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Television Personalities 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 '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Royal Family And The Poor,
Ponytail,
The Moody Blues,
Cymande,
Bill Near,
Funky Four + One,
The Wake,
Scientists,
Kurtis Blow,
Public Image Ltd.,
Eden Ahbez,
Spoonie Gee,
John Foxx,
Marvin Gaye,
Marshall Jefferson,
The Remains,
the Fania All-Stars,
Dave Gahan,
Mad Mike,
Quantec,
Half Japanese,
Pulsallama,
Tears for Fears,
Lalo Schifrin,
The Leaves,
Scott Walker,
The Gories,
Eric B and Rakim,
Little Man,
Jerry's Kids,
Oneida,
Byron Stingily,
Drexciya,
Isaac Hayes,
Jacques Brel,
Joy Division,
Super Lover Cee & Casanova Rud,
Big Daddy Kane,
Supertramp,
the Association,
Joe Finger,
Shuggie Otis,
Ohio Players,
Rekid,
Angels of Light & Akron/Family,
Flamin' Groovies,
Dual Sessions,
James Chance & The Contortions,
U.S. Maple,
Magma,
New York Dolls,
Jesper Dahlback,
Chris & Cosey,
Franke,
Second Layer,
Faraquet,
Joey Negro,
the Bar-Kays,
Lalann,
The Dirtbombs,
Gong,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.