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 Nigeria and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Hong Kong 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 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 Normal to the rap 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 Harpers Bizarre. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Faust,
Judy Mowatt,
Joe Finger,
Drexciya,
Fluxion,
The Dead C,
The Star Department,
Red Lorry Yellow Lorry,
Subhumans,
Massinfluence,
Boredoms,
Public Image Ltd.,
Juan Atkins,
Fear,
Tropical Tobacco,
The United States of America,
ABC,
K-Klass,
Ultra Naté,
Man Eating Sloth,
The Vogues,
Sunsets and Hearts,
Kauko Röyhkä ja Narttu,
Talk Talk,
OOIOO,
Kas Product,
Gang of Four,
Depeche Mode,
Masters at Work,
Brick,
Electric Prunes,
David McCallum,
Con Funk Shun,
Rod Modell,
Oneida,
Ossler,
Brass Construction,
The Toasters,
Pulsallama,
The Happenings,
Pagans,
Piero Umiliani,
Marshall Jefferson,
Y Pants,
Livin' Joy,
Animal Collective,
Nas,
Wolf Eyes,
Agitation Free,
Smog,
Rites of Spring,
Art Ensemble Of Chicago,
Amon Düül,
Severed Heads,
Underground Resistance,
X-101,
Josef K,
Avey Tare's Slasher Flicks,
Eric Dolphy,
Black Pus,
Los Fastidios,
Nirvana, Nirvana, Nirvana, Nirvana.
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.