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 Saudi Arabia and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Seoul.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 X-102 to the disco 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 the Slits. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Loose Ends 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 '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Swell Maps,
Flamin' Groovies,
Tim Buckley,
Darondo,
X-102,
Patti Smith,
Bill Near,
Yusef Lateef,
Arab on Radar,
Magma,
Jeru the Damaja,
Throbbing Gristle,
Graham Central Station,
Kurtis Blow,
Con Funk Shun,
Ludus,
The Human League,
The Dead C,
Flash Fearless,
Derrick May,
Stockholm Monsters,
Underground Resistance,
Jacob Miller,
Popol Vuh,
Sunsets and Hearts,
Pylon,
Alton Ellis,
Yazoo,
the Swans,
The Invisible,
Pantaleimon,
Ultravox,
Robert Hood,
Gong,
Neil Young,
Ronnie Foster,
The Selecter,
DJ Style,
Zapp,
Radio Birdman,
MDC,
Lalo Schifrin,
Skaos,
The Busters,
The Techniques,
The Men They Couldn't Hang,
Pete Rock & C.L. Smooth,
Vladislav Delay,
Lizzy Mercier Descloux,
Mr. Review,
R.M.O.,
Heaven 17,
Main Source,
The Fuzztones,
Severed Heads,
Intrusion,
Justin Hinds & The Dominoes,
Saccharine Trust,
Carl Craig,
The Litter,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.