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 Lithuania and from Accra.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Lille.
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 Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Dave Gahan to the electroclash kids.
I played it at the 40 Watt.
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 Deakin. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Alphaville,
Marc Almond,
The Names,
The Cramps,
Marcia Griffiths,
Loose Ends,
Sun Ra Arkestra,
The Angels of Light,
Niagra,
Pere Ubu,
Eurythmics,
Bootsy's Rubber Band,
Icehouse,
The Walker Brothers,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Au Pairs,
Franke,
Pete Rock & C.L. Smooth,
Soul II Soul,
Hardrive,
The Index,
The Motions,
The Fall,
Dead Boys,
Masters at Work,
Deepchord,
The Shadows of Knight,
Leonard Cohen,
Connie Case,
The Gories,
The Gladiators,
Manfred Mann's Earth Band,
Buzzcocks,
The Detroit Cobras,
Procol Harum,
Babytalk,
Soft Cell,
The Wake,
Scott Walker + Sunn O))),
Oblivians,
Drive Like Jehu,
The Fuzztones,
Super Lover Cee & Casanova Rud,
The J.B.'s,
Sam Rivers,
EPMD,
Matthew Bourne,
London Community Gospel Choir,
The Birthday Party,
Shuggie Otis,
The Pretty Things,
The Alarm Clocks,
June of 44,
Dave Gahan,
Curtis Mayfield,
Monolake,
Agent Orange,
Dorothy Ashby,
Minny Pops,
Nico, Nico, Nico, Nico.
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.