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 Ecuador and from Calgary.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and Spokane.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Guru Guru to the jazz 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 Agitation Free. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
PIL,
Nils Olav,
Arcadia,
Donny Hathaway,
Oblivians,
Alison Limerick,
Jimmy McGriff,
The Slits,
Can,
One Last Wish,
Bush Tetras,
Dual Sessions,
Joyce Sims,
Liaisons Dangereuses,
Teenage Jesus and the Jerks,
Sexual Harrassment,
Siglo XX,
Sound Behaviour,
June of 44,
Delon & Dalcan,
Kango’s Stein Massive,
Marmalade,
Ten City,
Rekid,
The West Coast Pop Art Experimental Band,
Nirvana,
Carl Craig,
Pagans,
The Gories,
The Names,
Panda Bear,
Bang On A Can,
Echo & the Bunnymen,
Byron Stingily,
The Smiths,
Scion,
L. Decosne,
Lalo Schifrin,
Dorothy Ashby,
Todd Terry,
De La Soul & Jungle Brothers,
Loose Ends,
Minny Pops,
Deepchord,
Wire,
Spandau Ballet,
Masters at Work,
The Monochrome Set,
China Crisis,
X-101,
Desert Stars,
Davy DMX,
Flamin' Groovies,
Lebanon Hanover,
Tom Boy,
Heaven 17,
Livin' Joy,
Khruangbin,
Stockholm Monsters,
Monks, Monks, Monks, Monks.
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.