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 Slovakia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Lou Christie to the grime kids.
I played it at Trash.
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 Make Up. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Charles Mingus,
Flamin' Groovies,
the Slits,
Pharaoh Sanders and the Fire Engines,
Ronan,
Sarah Menescal,
Jesper Dahlbäck,
Radiopuhelimet,
Colin Newman,
The Selecter,
Crime,
Terrestrial Tones,
Tropical Tobacco,
Saccharine Trust,
Crash Course in Science,
Aural Exciters,
The Sisters of Mercy,
Matthew Bourne,
Suicide,
Traffic Nightmare,
Wasted Youth,
Ronnie Foster,
Fluxion,
Sparks,
The Mighty Diamonds,
Harry Pussy,
Sound Behaviour,
Camouflage,
Marc Almond,
The Dead C,
MDC,
The Knickerbockers,
Gerry Rafferty,
Ash Ra Tempel,
New Age Steppers,
The Pop Group,
Gregory Isaacs,
Dr. Dre and Snoop Doggy Dog,
Byron Stingily,
Sixth Finger,
The Skatalites,
Joe Smooth,
Khruangbin,
James Chance & The Contortions,
Jacques Brel,
Andrew Hill,
the Fania All-Stars,
Boz Scaggs,
Negative Approach,
the Human League,
Hardrive,
Bobby Byrd,
Vaughan Mason & Crew,
Second Layer,
Prince Buster,
Sly & The Family Stone,
In Retrospect,
Talk Talk,
X-Ray Spex,
Bill Wells,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.