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 Senegal and from Lyon.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Cairo 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 Robert Palmer 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 Juan Atkins to the jazz 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 Pet Shop Boys. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
The Zeros,
Joensuu 1685,
Depeche Mode,
Radiopuhelimet,
The Chocolate Watch Band,
Curtis Mayfield,
Mandrill,
Röyhkä ja Rättö ja Lehtisalo,
Wighnomy Brothers & Robag Wruhme,
Howard Jones,
The Move,
Black Sheep,
Gastr Del Sol,
Teenage Jesus and the Jerks,
Neil Young & Crazy Horse,
David Bowie,
F. McDonald,
Susan Cadogan,
Andrew Ashong & Theo Parrish,
The Index,
Heavy D & The Boyz,
Jawbox,
L. Decosne,
Audionom,
Can,
Metal Thangz,
Sonny Sharrock,
Quadrant,
Sunsets and Hearts,
Albert Ayler,
Ajijia Myrayebe,
Dual Sessions,
Eve St. Jones,
Avey Tare's Slasher Flicks,
Angry Samoans,
Piero Umiliani,
Minor Threat,
U.S. Maple,
The Red Krayola,
Stockholm Monsters,
Arthur Verocai,
Suburban Knight,
The Alarm Clocks,
The Velvet Underground,
Lightning Bolt,
the Association,
These Immortal Souls,
Pulsallama,
Lalann,
Nirvana,
The Young Rascals,
Lonnie Liston Smith,
Symarip,
Wolf Eyes,
Yaz,
Jesper Dahlbäck,
Adolescents,
Pierre Henry,
Erasure,
Shuggie Otis,
Danielle Patucci,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.