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 Nigeria and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Joyce Sims to the techno kids.
I played it at Trash.
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 AZ. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every The New Christs 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Bang On A Can,
the Sonics,
New York Dolls,
the Association,
Country Joe & The Fish,
Maurizio,
Michelle Simonal,
Aaron Thompson,
Charles Mingus,
Scrapy,
Public Image Ltd.,
Sunsets and Hearts,
Depeche Mode,
Lalo Schifrin,
Gian Franco Pienzio,
A Flock of Seagulls,
Fort Wilson Riot,
Danielle Patucci,
Marvin Gaye,
The Techniques,
Blossom Toes,
Barbara Tucker,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
Lizzy Mercier Descloux,
B.T. Express,
Duran Duran,
Kauko Röyhkä ja Narttu,
Buzzcocks,
The Doors,
Lakeside,
Roxy Music,
Gang of Four,
Godley & Creme,
Flamin' Groovies,
The Fuzztones,
Japan,
Deakin,
Ituana,
Sun Ra,
The Gories,
Joy Division,
Moss Icon,
Sound Behaviour,
Rahsaan Roland Kirk,
Marshall Jefferson,
Country Teasers,
Bush Tetras,
Pharaoh Sanders and the Fire Engines,
Average White Band,
Anakelly,
Crispian St. Peters,
DJ Style,
Fluxion,
June of 44,
Ken Boothe,
X-101,
The Black Dice,
Crispy Ambulance,
AZ, AZ, AZ, AZ.
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.