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 South Africa and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Marc Almond to the electroclash kids.
I played it at the 40 Watt.
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 Echospace. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Laurel Aitken 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 '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Carl Craig,
Cecil Taylor,
Lou Reed & John Cale,
Nik Kershaw,
Angry Samoans,
Ten City,
Spandau Ballet,
John Holt,
Silicon Teens,
Country Teasers,
Ultravox,
Jacques Brel,
Godley & Creme,
Sugar Minott,
Lee Hazlewood,
Althea and Donna,
Liaisons Dangereuses,
10cc,
Warren Ellis,
Gary Puckett & The Union Gap,
Bootsy's Rubber Band,
Davy DMX,
The Busters,
Los Fastidios,
Scrapy,
Richard Hell and the Voidoids,
The Angels of Light,
Idris Muhammad,
The Moody Blues,
Das Ding,
The Moleskins,
Groovy Waters,
Soft Machine,
Procol Harum,
June Days,
Juan Atkins,
Chris Corsano,
Little Man,
Radiopuhelimet,
Dead Boys,
Röyhkä ja Rättö ja Lehtisalo,
Monks,
Jesper Dahlback,
Fela Kuti,
Hasil Adkins,
Gang Starr,
DeepChord presents Echospace,
Morten Harket,
Au Pairs,
Johnny Clarke,
The Cramps,
New York Dolls,
The Slits,
Ajijia Myrayebe,
Intrusion,
Oblivians,
The Count Five,
China Crisis,
The Pretty Things,
AZ,
Frankie Knuckles,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.