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 Malawi and from Johannesburg.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Spokane 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Seeds to the dance kids.
I played it at Trash.
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 Letta Mbulu. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Wighnomy Brothers & Robag Wruhme,
Supertramp,
The Electric Prunes,
Juan Atkins,
Avey Tare's Slasher Flicks,
Jesper Dahlbäck,
Con Funk Shun,
Soft Machine,
Arcadia,
Barclay James Harvest,
Tommy Roe,
Rapeman,
Sällskapet,
Pantaleimon,
Fad Gadget,
Danielle Patucci,
Bobby Womack,
Deadbeat,
Steve Hackett,
Angry Samoans,
The Star Department,
Howard Jones,
Shoche,
Whodini,
EPMD,
Connie Case,
Gary Puckett & The Union Gap,
Judy Mowatt,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
Roxette,
Mo-Dettes,
Gian Franco Pienzio,
Aural Exciters,
Amon Düül II,
The Chocolate Watch Band,
Tropical Tobacco,
The West Coast Pop Art Experimental Band,
Thompson Twins,
F. McDonald,
Brass Construction,
David McCallum,
Siouxsie and the Banshees,
Gong,
Rahsaan Roland Kirk,
Michelle Simonal,
Malaria!,
Jeru the Damaja,
Icehouse,
The Angels of Light,
Mr. Review,
the Soft Cell,
Bronski Beat,
John Cale,
Roy Ayers,
The Grass Roots,
Scan 7,
Man Parrish,
The Remains,
Flipper,
Glambeats Corp.,
The Saints, The Saints, The Saints, The Saints.
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.