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 Palau and from Spokane.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Blossom Toes to the disco kids.
I played it at the 40 Watt.
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 Trojans. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Curtis Mayfield 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Erasure,
Marc Almond,
Rufus Thomas,
Crime,
Gerry Rafferty,
The Smoke,
Bob Dylan,
Faust,
The Remains,
Hashim,
Chris & Cosey,
Michelle Simonal,
Minnie Riperton,
Thee Headcoats,
Scrapy,
The Smiths,
Fort Wilson Riot,
Pet Shop Boys,
Eli Mardock,
Scion,
Kool G Rap & DJ Polo,
Ajijia Myrayebe,
The Wake,
The Red Krayola,
Maurizio,
The Beau Brummels,
Ultravox,
Kayak,
Mars,
Roger Hodgson,
Henry Cow,
Siouxsie and the Banshees,
Visionaries,LMNO, T- Love & Iriscience,
Crash Course in Science,
Gang Gang Dance,
The Star Department,
The Gun Club,
Stereo Dub,
Monks,
cv313,
Howard Jones,
Subhumans,
Soul II Soul,
Electric Prunes,
The Doobie Brothers,
Ludus,
Röyhkä ja Rättö ja Lehtisalo,
Pierre Henry,
Nas,
John Holt,
Fifty Foot Hose,
The Sound,
Cameo,
Von Mondo,
the Human League,
Angels of Light & Akron/Family,
The Fire Engines,
Quantec,
The New Christs, The New Christs, The New Christs, The New Christs.
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.