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 Turkmenistan and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Glambeats Corp. to the disco 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 Desert Stars. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Barbara Tucker,
Au Pairs,
Grandmaster Flash,
Excepter,
Liliput,
Alice Coltrane,
Mark Hollis,
Easy Going,
Sparks,
Flipper,
Eddi Front,
Deutsch Amerikanische Freundschaft,
Girls At Our Best!,
Jawbox,
Lou Christie,
Agent Orange,
Rekid,
Brass Construction,
Mad Mike,
Marcia Griffiths,
The Monochrome Set,
The Offenders,
Warren Ellis,
Newcleus,
Camberwell Now,
The Birthday Party,
New Age Steppers,
Joy Division,
Lakeside,
Howard Jones,
Röyhkä ja Rättö ja Lehtisalo,
Soft Cell,
Visage,
The Golliwogs,
Kings Of Tomorrow,
The Fortunes,
Alphaville,
Bobby Womack,
Marc Almond,
The Zeros,
Justin Hinds & The Dominoes,
Patti Smith,
Prince Buster,
Jesper Dahlbäck,
Dual Sessions,
Bad Manners,
U.S. Maple,
The Barracudas,
Gary Puckett & The Union Gap,
Black Moon,
Unwound,
Japan,
This Heat,
Desert Stars,
Nation of Ulysses,
Bronski Beat,
The Alarm Clocks,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.