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 Croatia and from Cairo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Taipei 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 marimba sounds with much patience.
I was there when David Bowie 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 MDC to the funk kids.
I played it at the Crocodile.
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 Eli Mardock. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Marshall Jefferson,
Lou Reed,
Suburban Knight,
Dual Sessions,
Pierre Henry,
Bill Near,
Television Personalities,
Aural Exciters,
The Cure,
Porter Ricks,
U.S. Maple,
The Sisters of Mercy,
Sarah Menescal,
Eric Copeland,
Morten Harket,
Vaughan Mason & Crew,
Brand Nubian,
Guru Guru,
The Leaves,
Sad Lovers and Giants,
Idris Muhammad,
The Fire Engines,
CMW,
Hot Snakes,
Pylon,
Liliput,
R.M.O.,
Fat Boys,
Icehouse,
Sonny Sharrock,
Henry Cow,
The Cosmic Jokers,
Fad Gadget,
Yaz,
Radio Birdman,
The Pretty Things,
Scott Walker,
Desert Stars,
Grandmaster Flash,
Gichy Dan,
Ludus,
Technova,
Pussy Galore,
Boredoms,
The Saints,
Make Up,
Crash Course in Science,
Scion,
The Real Kids,
Kango’s Stein Massive,
Country Teasers,
Tomorrow,
The Cramps,
Black Sheep,
Magma,
Unrelated Segments,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Brass Construction,
New Age Steppers,
Crooked Eye,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.