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 Mozambique and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Frankie Knuckles to the dance kids.
I played it at the Troubador.
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 Motorama. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar 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 snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Slackers,
Moebius,
Scion,
Joy Division,
The Standells,
The Golliwogs,
Siglo XX,
Lebanon Hanover,
The Misunderstood,
Rod Modell,
Juan Atkins,
Bush Tetras,
Agent Orange,
Ultramagnetic MC's,
Television,
The Flesh Eaters,
Gil Scott-Heron and Jamie xx,
The Barracudas,
Kerrie Biddell,
Roxy Music,
Kenny Larkin,
Dave Gahan,
Bob Dylan,
Massinfluence,
PIL,
Suburban Knight,
Aural Exciters,
Public Image Ltd.,
Scan 7,
Blancmange,
Black Pus,
Kauko Röyhkä ja Narttu,
The Red Krayola,
Crash Course in Science,
Easy Going,
The Angels of Light,
Joe Smooth,
Peter & Gordon,
Franke,
Simply Red,
Niagra,
the Soft Cell,
MC5,
Deakin,
The Fire Engines,
Audionom,
Traffic Nightmare,
the Bar-Kays,
Dual Sessions,
The Human League,
Faust,
Deadbeat,
Big Daddy Kane,
Vainqueur,
Thinking Fellers Union Local 282,
Piero Umiliani,
H. Thieme,
The Pop Group,
Wings,
Scratch Acid,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.