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 Mozambique and from London.
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 1976.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Marshall Jefferson to the punk 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 Mojo Men. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Saints,
Sonny Sharrock,
The Fire Engines,
Pierre Henry,
Black Bananas,
The Electric Prunes,
Alphaville,
The Birthday Party,
The Neon Judgement,
The Young Rascals,
Suicide,
Ultimate Spinach,
Tears for Fears,
Lizzy Mercier Descloux,
Tres Demented,
Eric B and Rakim,
Essential Logic,
Sun City Girls,
Gregory Isaacs,
Joe Finger,
F. McDonald,
Pagans,
Sly & The Family Stone,
Neu!,
Echo & the Bunnymen,
the Soft Cell,
Shuggie Otis,
Sex Pistols,
Scientists,
UT,
The Martian,
Mark Hollis,
Minny Pops,
The Misunderstood,
Camberwell Now,
Eurythmics,
The Selecter,
Thompson Twins,
Tropical Tobacco,
Joensuu 1685,
Dark Day,
Rakim,
Louis and Bebe Barron,
Spoonie Gee,
Visage,
DJ Sneak,
Vainqueur,
Fifty Foot Hose,
Dawn Penn,
John Foxx,
The Flesh Eaters,
The Last Poets,
Erykah Badu,
Underground Resistance,
Kevin Saunderson,
Eli Mardock,
ABBA,
Gabor Szabo,
Massinfluence,
the Human League,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.