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 Palau and from Houston.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Seoul 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 clarinet 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 Kerri Chandler to the techno 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 Franke. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
The Real Kids,
Alison Limerick,
Jacques Brel,
The Standells,
Pole,
Ten City,
Grauzone,
The Gories,
Lalo Schifrin,
Smog,
L. Decosne,
Soul Sonic Force,
Red Lorry Yellow Lorry,
Stiv Bators,
Lizzy Mercier Descloux,
Adolescents,
Gil Scott-Heron & Brian Jackson,
the Swans,
Man Parrish,
Ultravox,
Magazine,
The Pop Group,
Roy Ayers Ubiquity,
Neu!,
Franke,
Oppenheimer Analysis,
Bizarre Inc.,
June of 44,
the Slits,
Marmalade,
Mark Hollis,
Jimmy McGriff,
Radio Birdman,
JFA,
Flipper,
Oblivians,
Mantronix,
The Star Department,
Lou Reed & John Cale,
The Kinks,
The Pretty Things,
Fifty Foot Hose,
Country Teasers,
Suicide,
The Martian,
The Cosmic Jokers,
Bill Wells,
Eddi Front,
The Last Poets,
Hashim,
Dead Boys,
ABBA,
Ultra Naté,
Audionom,
Kauko Röyhkä ja Narttu,
The Tremeloes,
World's Most,
Justin Hinds & The Dominoes,
Gang Green, Gang Green, Gang Green, Gang Green.
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.