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 Denmark and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Glasgow 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 theremin 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 Patti Smith to the crunk kids.
I played it at Cafe Wha.
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 8 Eyed Spy. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Sound Behaviour 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Brick,
Monks,
Don Cherry,
Sad Lovers and Giants,
John Lydon,
Stereo Dub,
Flash Fearless,
Outsiders,
Bobby Womack,
Robert Görl,
X-102,
Scratch Acid,
Rotary Connection,
Röyhkä ja Rättö ja Lehtisalo,
the Soft Cell,
Tim Buckley,
Motorama,
Angry Samoans,
a-ha,
Arcadia,
The Vogues,
Reuben Wilson,
The Searchers,
Crime,
John Coltrane,
Grandmaster Flash,
June of 44,
The Raincoats,
Lee Hazlewood,
Goldenarms,
Masters at Work,
Surgeon,
Section 25,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
X-101,
Sun City Girls,
The Blues Magoos,
Aloha Tigers,
Ultimate Spinach,
Mo-Dettes,
Kas Product,
PIL,
The Walker Brothers,
Pharaoh Sanders and the Fire Engines,
Tubeway Army,
Q and Not U,
Pagans,
UT,
Fifty Foot Hose,
Flamin' Groovies,
Country Joe & The Fish,
Sexual Harrassment,
Ornette Coleman,
OOIOO,
Little Man,
The Martian,
Sly & The Family Stone,
Youth Brigade,
Piero Umiliani,
The Victims,
The Fall,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.