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 Sudan and from Manchester.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Depeche Mode to the punk 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 Siglo XX. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Althea and Donna,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
The Sound,
Eurythmics,
The J.B.'s,
ABC,
John Lydon,
8 Eyed Spy,
Kaleidoscope,
Danielle Patucci,
Excepter,
Andrew Hill,
Negative Approach,
Henry Cow,
Television,
The Neon Judgement,
Newcleus,
Alton Ellis,
Chris Corsano,
Dead Boys,
Deepchord,
Rakim,
Radiopuhelimet,
Funkadelic,
Nation of Ulysses,
Jesper Dahlback,
H. Thieme,
Bauhaus,
Brick,
The Pretty Things,
The Golliwogs,
Cymande,
Bobbi Humphrey,
Terror Squad Feat. Camron,
Dual Sessions,
Lee Hazlewood,
Sticky Fingaz feat. Raekwon,
Sound Behaviour,
Mo-Dettes,
Minny Pops,
David Axelrod,
The Tremeloes,
Slick Rick,
Pulsallama,
The Mummies,
Sandy B,
Gastr Del Sol,
Arcadia,
Ajijia Myrayebe,
Gerry Rafferty,
Matthew Bourne,
E-Dancer,
Liliput,
New York Dolls,
The Doobie Brothers,
Lou Christie,
James White and The Blacks,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.