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 Panama and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Manila 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 theremin 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 Brothers Johnson to the dance 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 Cluster. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every The Associates 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Godley & Creme,
Matthew Bourne,
Pole,
The Fortunes,
Harry Pussy,
The J.B.'s,
Kevin Saunderson,
Art Ensemble Of Chicago,
FM Einheit,
Buzzcocks,
New Order,
Isaac Hayes,
Fifty Foot Hose,
Captain Beefheart & His Magic Band,
Pere Ubu,
Nick Cave & The Bad Seeds,
Dennis Brown,
Lucky Dragons,
This Heat,
Scion,
The West Coast Pop Art Experimental Band,
Interpol,
Gong,
Ajijia Myrayebe,
Index,
Funkadelic,
The Last Poets,
Franke,
Roger Hodgson,
Pete Rock & C.L. Smooth,
Ultra Naté,
The Dave Clark Five,
John Coltrane,
Sunsets and Hearts,
Delon & Dalcan,
In Retrospect,
CMW,
Charles Mingus,
Moss Icon,
Public Image Ltd.,
Spoonie Gee,
Spandau Ballet,
MC5,
Guru Guru,
Essential Logic,
Orchestral Manoeuvres in the Dark,
The Sisters of Mercy,
Sun Ra Arkestra,
Camberwell Now,
Fear,
Fugazi,
Kurtis Blow,
Mad Mike,
A Certain Ratio,
Gian Franco Pienzio,
Sällskapet,
Stiv Bators,
Thinking Fellers Union Local 282,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.