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 Luxembourg and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Edmonton 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 oboe 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 Oneida 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 Harpers Bizarre. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Angry Samoans,
T.S.O.L.,
Black Pus,
Lungfish,
Smog,
H. Thieme,
Rosa Yemen,
Grandmaster Flash and the Furious Five,
Tears for Fears,
Donny Hathaway,
Lonnie Liston Smith,
Ohio Players,
Barrington Levy,
Cymande,
Robert Wyatt,
Minny Pops,
Kaleidoscope,
Matthew Bourne,
Scott Walker,
Gabor Szabo,
48th St. Collective,
Gregory Isaacs,
Graham Central Station,
Flamin' Groovies,
Roxy Music,
Pole,
Vainqueur,
Tres Demented,
the Human League,
Hasil Adkins,
Camron Feat. Jay Z And Juelz,
The Offenders,
The Black Dice,
X-Ray Spex,
Marc Almond,
Cabaret Voltaire,
David Axelrod,
Bang on a Can All-Stars,
Faust,
Harpers Bizarre,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Junior Murvin,
Funky Four + One,
Darondo,
Tomorrow,
Bootsy's Rubber Band,
The Gladiators,
The New Christs,
Spandau Ballet,
Aloha Tigers,
B.T. Express,
Avey Tare's Slasher Flicks,
Glenn Branca,
Terror Squad Feat. Camron,
Harmonia,
Susan Cadogan,
Brothers Johnson,
Lou Reed & Metallica,
Peter & Gordon,
Malaria!,
Scan 7, Scan 7, Scan 7, Scan 7.
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.