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 Ecuador and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Taipei 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 Stooges to the rock 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 Electric Prunes. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Althea and Donna,
Television,
Davy DMX,
Scan 7,
Strawberry Alarm Clock,
Robert Hood,
Joe Finger,
Marine Girls,
Nation of Ulysses,
Jawbox,
Byron Stingily,
Alton Ellis,
Nick Cave & The Bad Seeds,
the Soft Cell,
Bobby Byrd,
Stiv Bators,
Captain Beefheart & His Magic Band,
Black Bananas,
Ituana,
Camberwell Now,
Laurel Aitken,
Tom Boy,
One Last Wish,
Sparks,
Susan Cadogan,
Cameo,
Loose Ends,
Outsiders,
Jerry's Kids,
The American Breed,
Drive Like Jehu,
The Index,
Louis and Bebe Barron,
Faust,
The Smiths,
Cal Tjader,
John Foxx,
The New Christs,
Simply Red,
Qualms,
Amon Düül,
Warsaw,
Janne Schatter,
Boogie Down Productions,
Eyeless In Gaza,
The Slackers,
Lebanon Hanover,
Angels of Light & Akron/Family,
Banda Bassotti,
Bluetip,
The Tremeloes,
Sixth Finger,
Sexual Harrassment,
DNA,
the Swans,
Graham Central Station,
Juan Atkins,
A Certain Ratio,
Model 500,
Kenny Larkin,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.