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 Monaco and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Portland 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 rhodes 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 Count Five to the electroclash kids.
I played it at the Hacienda.
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 Alarm Clocks. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Intrusion 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
The Zeros,
Gabor Szabo,
Kevin Saunderson,
Radio Birdman,
Spoonie Gee,
Public Enemy,
Bob Dylan,
Aaron Thompson,
Bobby Byrd,
Eric Copeland,
Aural Exciters,
Terror Squad Feat. Camron,
Liliput,
Sight & Sound,
The Shadows of Knight,
Spandau Ballet,
Minutemen,
Pulsallama,
Pussy Galore,
The Saints,
Fluxion,
Ultramagnetic MC's,
Marine Girls,
Soulsonic Force,
Harmonia,
Theoretical Girls,
H. Thieme,
Pete Rock & C.L. Smooth,
Radiopuhelimet,
Red Lorry Yellow Lorry,
John Holt,
Jesper Dahlback,
New Order,
David Axelrod,
Lou Reed & Metallica,
K-Klass,
Visage,
Sexual Harrassment,
Michelle Simonal,
Lakeside,
Clear Light,
The Move,
Black Sheep,
R.M.O.,
Camouflage,
The Moleskins,
The Detroit Cobras,
June Days,
Fad Gadget,
Public Image Ltd.,
Oppenheimer Analysis,
JFA,
Arab on Radar,
Fela Kuti,
Derrick May,
the Germs,
The Last Poets,
In Retrospect,
Mad Mike,
Faust,
The Fall,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.