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 India and from Salvador.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Dead Boys to the crunk 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 The Men They Couldn't Hang. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
John Cale,
Eve St. Jones,
the Association,
Urselle,
Crime,
MC5,
Qualms,
The Gap Band,
Brick,
The Stooges,
James Chance & The Contortions,
The West Coast Pop Art Experimental Band,
Harmonia,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soul Sonic Force,
A Certain Ratio,
Glambeats Corp.,
Sun Ra,
Inner City,
Ornette Coleman,
Circle Jerks,
Masters at Work,
Kerri Chandler,
Flash Fearless,
Laurel Aitken,
Bad Manners,
Cabaret Voltaire,
Donald Byrd,
The Gories,
Jeff Mills,
The Fall,
Terry Callier,
Yaz,
Index,
Japan,
Chris & Cosey,
Visionaries,LMNO, T- Love & Iriscience,
cv313,
Crispy Ambulance,
Accadde A,
John Foxx,
Judy Mowatt,
The Remains,
Parry Music,
The United States of America,
China Crisis,
The Fortunes,
Iggy Pop,
Smog,
Arthur Verocai,
Soft Cell,
Bobby Sherman,
Kings Of Tomorrow,
Dark Day,
Fad Gadget,
Black Moon,
Trumans Water,
Q65,
Rowland S Howard / Lydia Lunch,
Gil Scott Heron,
Mad Mike,
Erasure,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.