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 Burundi and from New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 Matthew Halsall to the dance kids.
I played it at CBGB's.
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 Model 500. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Faust,
Sonny Sharrock,
Rod Modell,
The Fall,
The Wake,
Ultimate Spinach,
Liaisons Dangereuses,
Main Source,
Sandy B,
The Associates,
Funkadelic,
Mr. Review,
Darondo,
Infiniti,
Danielle Patucci,
Anakelly,
Lakeside,
Animal Collective,
Major Organ And The Adding Machine,
The Dead C,
The Black Dice,
The Saints,
Sister Nancy,
Kango’s Stein Massive,
Electric Prunes,
Crime,
Fat Boys,
the Fania All-Stars,
World's Most,
the Germs,
D'Angelo,
Organ,
Max Romeo,
the Normal,
Selector Dub Narcotic,
Cluster,
Pussy Galore,
Byron Stingily,
Vainqueur,
Public Enemy,
Erasure,
The Velvet Underground,
Roger Hodgson,
Notorious BIG live in Amsterdam,
Buzzcocks,
Cabaret Voltaire,
Circle Jerks,
Sunsets and Hearts,
Brick,
Visionaries,LMNO, T- Love & Iriscience,
Roxette,
Brass Construction,
Lizzy Mercier Descloux,
The Toasters,
New Order,
Scrapy,
Lou Reed,
Dead Boys,
Delon & Dalcan,
Kerri Chandler,
Neil Young, Neil Young, Neil Young, Neil Young.
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.