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 Venezuela and from Bologna.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Milan 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 organ 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 the Association to the punk 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 Nick Fraelich. All the underground hits.
All June Days tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Khruangbin,
Marvin Gaye,
K-Klass,
The Detroit Cobras,
Roxette,
Kas Product,
Gang Gang Dance,
Carl Craig,
Man Parrish,
Ken Boothe,
New Order,
Dennis Brown,
Dorothy Ashby,
Iggy Pop,
The Star Department,
Alison Limerick,
The Fortunes,
John Lydon,
Lyres,
Country Teasers,
Electric Prunes,
Zero Boys,
The Moody Blues,
Tears for Fears,
ABBA,
Suicide,
the Normal,
Mantronix,
Nico,
Selector Dub Narcotic,
Franke,
Magazine,
Joensuu 1685,
Tubeway Army,
Marcia Griffiths,
Brand Nubian,
Swell Maps,
Barry Ungar,
The Associates,
Bootsy Collins,
Major Organ And The Adding Machine,
The Motions,
The United States of America,
Flash Fearless,
Make Up,
Super Lover Cee & Casanova Rud,
OOIOO,
Nik Kershaw,
Wire,
Terrestrial Tones,
Newcleus,
Henry Cow,
Royal Trux,
Peter & Gordon,
Peter Gordon & Love of Life Orchestra,
Arthur Verocai,
The American Breed,
The Birthday Party,
Drexciya,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.