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 Georgia and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1979.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Kenny Larkin 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 Sonny Sharrock. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
The Names,
Mark Hollis,
Nirvana,
Rotary Connection,
Aural Exciters,
The Black Dice,
Mo-Dettes,
U.S. Maple,
Excepter,
Wings,
Jimmy McGriff,
Reagan Youth,
Y Pants,
The Grass Roots,
The Five Americans,
the Sonics,
Shuggie Otis,
Echospace,
Jacob Miller,
the Association,
Los Fastidios,
Notorious Big And Bone Thugs,
Sandy B,
Rufus Thomas,
The Dead C,
Scion,
Fluxion,
La Düsseldorf,
The Fall,
Lyres,
the Germs,
Joe Finger,
Skaos,
10cc,
Tom Boy,
Roger Hodgson,
Mad Mike,
Kaleidoscope,
Bootsy Collins,
Nico,
Second Layer,
Marc Almond,
Man Eating Sloth,
Sugar Minott,
The Royal Family And The Poor,
Mantronix,
The Busters,
The Cramps,
Monks,
Swans,
DJ Sneak,
The Stooges,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arab on Radar,
Quadrant,
Arthur Verocai,
The Move,
John Cale,
Albert Ayler,
Outsiders,
Curtis Mayfield,
Clear Light,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.