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 Zimbabwe and from Taipei.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
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 It's A Beautiful Day to the electroclash kids.
I played it at the Troubador.
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 Motions. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every U.S. Maple 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Fire Engines,
Anthony Braxton,
Audionom,
Newcleus,
Röyhkä ja Rättö ja Lehtisalo,
Rhythm & Sound,
Warsaw,
FM Einheit,
Magazine,
Cecil Taylor,
Q65,
Roxy Music,
Kaleidoscope,
New Age Steppers,
The Fuzztones,
Louis and Bebe Barron,
A Flock of Seagulls,
Symarip,
Hardrive,
Maleditus Sound,
Livin' Joy,
Eyeless In Gaza,
Quando Quango,
Howard Jones,
The Blackbyrds,
Vainqueur,
Lizzy Mercier Descloux,
Essential Logic,
The Shadows of Knight,
Pole,
Moebius,
Kevin Saunderson,
Charles Mingus,
Skaos,
The Fortunes,
Blake Baxter,
Darondo,
Ultra Naté,
The Chocolate Watch Band,
The Cure,
Idris Muhammad,
Eddi Front,
Urselle,
Dark Day,
Kings Of Tomorrow,
Nik Kershaw,
The Victims,
Susan Cadogan,
Young Marble Giants,
Oblivians,
Larry & the Blue Notes,
Jawbox,
The Fall,
Masters at Work,
David McCallum,
Slick Rick,
Shuggie Otis,
Sad Lovers and Giants,
MDC,
Ultimate Spinach,
T. Rex,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.