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 Czech Republic and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 The Count Five to the funk 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 Q and Not U. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every kango's stein massive 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
cv313,
Lucky Dragons,
Moss Icon,
Mark Hollis,
Traffic Nightmare,
Drexciya,
Faust,
Crash Course in Science,
Henry Cow,
Interpol,
The Searchers,
Colin Newman,
Byron Stingily,
Mo-Dettes,
Rhythm & Sound,
Jesper Dahlbäck,
Terrestrial Tones,
The Evens,
The Victims,
Ornette Coleman,
Soft Cell,
Tres Demented,
Cymande,
Silicon Teens,
Gerry Rafferty,
The Associates,
Model 500,
The Dirtbombs,
Camberwell Now,
The Stooges,
Jeff Lynne,
Second Layer,
Pharaoh Sanders and the Fire Engines,
UT,
The Fugs,
The Index,
Pharoah Sanders,
Shoche,
Deadbeat,
Scott Walker,
Jawbox,
Kool Moe Dee,
The Techniques,
Roxette,
Aswad,
The Standells,
John Cale,
Can,
Organ,
The Fire Engines,
David Bowie,
Jandek,
Delta 5,
Quantec,
Massinfluence,
Magazine,
Sarah Menescal,
Art Ensemble Of Chicago,
Icehouse,
Outsiders,
Aaron Thompson,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.