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 Guatemala and from Sao Paulo.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Marc Almond 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 Anthony Braxton. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Tears for Fears,
Grauzone,
KRS-One,
The Seeds,
Khruangbin,
David Bowie,
Mission of Burma,
The Mighty Diamonds,
The Human League,
Roxette,
Eric B and Rakim,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Chris Corsano,
Soul Sonic Force,
The Gladiators,
Reuben Wilson,
Michelle Simonal,
Kurtis Blow,
Yusef Lateef,
Siglo XX,
Grey Daturas,
Gichy Dan,
Cluster,
Leonard Cohen,
Isaac Hayes,
Pantaleimon,
Fluxion,
Cheater Slicks,
Super Lover Cee & Casanova Rud,
Jeff Lynne,
The Modern Lovers,
Patti Smith,
Q and Not U,
The Fuzztones,
The Raincoats,
Tomorrow,
Ronan,
Los Fastidios,
Suburban Knight,
Qualms,
the Human League,
Alphaville,
Avey Tare's Slasher Flicks,
Art Ensemble Of Chicago,
Lungfish,
Babytalk,
Fat Boys,
Man Parrish,
The Flesh Eaters,
a-ha,
Janne Schatter,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Barbara Tucker,
Joyce Sims,
Kango’s Stein Massive,
The Royal Family And The Poor,
Frankie Knuckles,
Bauhaus,
Juan Atkins,
Wolf Eyes,
Make Up, Make Up, Make Up, Make Up.
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.