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 Algeria and from Accra.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Bremen 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 1980 at the first Cybotron practice in a loft in Detroit.
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 Ultra Naté to the grime kids.
I played it at the Spitz.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Marc Almond,
The Slackers,
The Star Department,
Alice Coltrane,
Cabaret Voltaire,
Susan Cadogan,
Scott Walker,
The Zeros,
This Heat,
Be Bop Deluxe,
The Jesus and Mary Chain,
Toni Rubio,
John Coltrane,
Cal Tjader,
The Alarm Clocks,
Dead Boys,
Charles Mingus,
Joy Division,
Altered Images,
Fad Gadget,
Basic Channel,
The Fortunes,
DJ Style,
One Last Wish,
The Buckinghams,
Gang Gang Dance,
Glambeats Corp.,
Drive Like Jehu,
James White and The Blacks,
Bootsy's Rubber Band,
Ludus,
Public Image Ltd.,
Peter Gordon & Love of Life Orchestra,
Barry Ungar,
Mary Jane Girls,
Pierre Henry,
Chris & Cosey,
Eden Ahbez,
Aloha Tigers,
Erykah Badu,
Sällskapet,
Rahsaan Roland Kirk,
Larry & the Blue Notes,
Big Daddy Kane,
Hardrive,
The Happenings,
Oppenheimer Analysis,
Underground Resistance,
The Walker Brothers,
Q and Not U,
Thee Headcoats,
Bill Wells,
The Monks,
Khruangbin,
Los Fastidios,
Ituana,
Bauhaus,
Captain Beefheart & His Magic Band,
The Dave Clark Five,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.