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 Equatorial Guinea and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Al Stewart to the dance 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 Lou Christie. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Scott Walker,
The Techniques,
David McCallum,
Peter Gordon & Love of Life Orchestra,
Zapp,
The Peanut Butter Conspiracy,
The Fugs,
48th St. Collective,
U.S. Maple,
The Saints,
Monks,
Fifty Foot Hose,
Cameo,
Alice Coltrane,
Larry & the Blue Notes,
the Bar-Kays,
Arthur Verocai,
Black Flag,
Ash Ra Tempel,
Jandek,
Vaughan Mason & Crew,
Lyres,
Hasil Adkins,
Popol Vuh,
The Men They Couldn't Hang,
The Cramps,
Swans,
Terrestrial Tones,
Wire,
The Skatalites,
Camouflage,
Super Lover Cee & Casanova Rud,
Maurizio,
Steve Hackett,
DJ Sneak,
Talk Talk,
Pet Shop Boys,
Marmalade,
Connie Case,
Ice-T,
The Electric Prunes,
Aloha Tigers,
Rufus Thomas,
Rowland S Howard / Lydia Lunch,
Lou Reed & John Cale,
Robert Görl,
Gang Starr,
Godley & Creme,
Von Mondo,
Thee Headcoats,
Fort Wilson Riot,
The Kinks,
Patti Smith,
Lakeside,
Sun City Girls,
The Detroit Cobras,
Easy Going,
Pantytec, Pantytec, Pantytec, Pantytec.
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.