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 Samoa and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Delhi and Taipei.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 R.M.O. to the disco 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 Janne Schatter. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Dead Boys,
X-102,
Eric Copeland,
DJ Style,
Lou Christie,
Yusef Lateef,
Underground Resistance,
Ice-T,
Teenage Jesus and the Jerks,
Mr. Review,
Peter and Kerry,
Blake Baxter,
Spandau Ballet,
DNA,
Ajijia Myrayebe,
E-Dancer,
Audionom,
Jimmy McGriff,
Bang On A Can,
UT,
Camouflage,
Red Lorry Yellow Lorry,
Boogie Down Productions,
Ralphi Rosario,
Drive Like Jehu,
Royal Trux,
Wire,
Eric B and Rakim,
The West Coast Pop Art Experimental Band,
Gary Puckett & The Union Gap,
The Monochrome Set,
Section 25,
The Cowsills,
Stetsasonic,
Ultravox,
Aloha Tigers,
Siglo XX,
Vladislav Delay,
Super Lover Cee & Casanova Rud,
Rosa Yemen,
Marcia Griffiths,
Ten City,
The Black Dice,
Alison Limerick,
Ronan,
Robert Wyatt,
Animal Collective,
Q65,
The Blues Magoos,
Thompson Twins,
Negative Approach,
Buzzcocks,
Amon Düül,
David McCallum,
Silicon Teens,
The Young Rascals,
Technova,
Graham Central Station,
Lizzy Mercier Descloux,
De La Soul & Jungle Brothers,
Bobbi Humphrey,
Inner City, Inner City, Inner City, Inner City.
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.