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 Mongolia and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1975.
I'm losing my edge.
To all the kids in Milan and Calgary.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Spandau Ballet to the rap 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 Kevin Saunderson. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Babytalk 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
The American Breed,
Orchestral Manoeuvres in the Dark,
Dead Boys,
Scrapy,
Joey Negro,
Swell Maps,
The Gun Club,
The Smiths,
John Holt,
X-101,
Morten Harket,
Ken Boothe,
The Birthday Party,
Sticky Fingaz feat. Raekwon,
The Divine Comedy,
Bobbi Humphrey,
Barry Ungar,
The Slackers,
Bobby Womack,
The Fall,
The West Coast Pop Art Experimental Band,
World's Most,
Spoonie Gee,
The Pretty Things,
Sunsets and Hearts,
The Gories,
The Mighty Diamonds,
John Lydon,
Niagra,
Captain Beefheart & His Magic Band,
Black Pus,
Jesper Dahlbäck,
Camron Feat. Memphis Bleek And Beenie Seigel,
June of 44,
Faust,
Tres Demented,
Marvin Gaye,
In Retrospect,
Roy Ayers,
Wolf Eyes,
Kurtis Blow,
DJ Sneak,
Rhythm & Sound,
Tom Boy,
Drive Like Jehu,
Drexciya,
Rakim,
Visage,
Gastr Del Sol,
The Knickerbockers,
Amazonics,
The Peanut Butter Conspiracy,
Gil Scott Heron,
Henry Cow,
Eve St. Jones,
Kerri Chandler,
The Fire Engines,
DeepChord presents Echospace,
David McCallum,
Pylon,
Pere Ubu,
Judy Mowatt,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.