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 Brunei and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Lagos 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 Donald Fagen 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 Monochrome Set to the dance kids.
I played it at the Hacienda.
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 Von Mondo. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Harry Pussy 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 '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
E-Dancer,
K-Klass,
Massinfluence,
Harpers Bizarre,
Wasted Youth,
MDC,
Masters at Work,
Moby Grape,
Accadde A,
Bauhaus,
The Velvet Underground,
Heavy D & The Boyz,
Mark Hollis,
Reagan Youth,
Amazonics,
Liaisons Dangereuses,
Lungfish,
Electric Light Orchestra,
Barry Ungar,
Grandmaster Flash,
Henry Cow,
It's A Beautiful Day,
Gang Starr,
Junior Murvin,
Big Daddy Kane,
Index,
Tres Demented,
Eddi Front,
Shoche,
Skriet,
Eyeless In Gaza,
Monolake,
Janne Schatter,
Saccharine Trust,
Pole,
Pierre Henry,
Iggy Pop,
Avey Tare,
Tom Boy,
Lou Christie,
The Fuzztones,
Kenny Larkin,
Spoonie Gee,
Ronan,
Lakeside,
Faraquet,
Magma,
Hardrive,
The Blackbyrds,
The Smiths,
A Flock of Seagulls,
Juan Atkins,
Richard Hell and the Voidoids,
Dorothy Ashby,
Marcia Griffiths,
Althea and Donna,
Darondo,
Erasure,
Jacques Brel,
Wally Richardson,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.