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 Panama and from Glasgow.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Beijing 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 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 Freddie Wadling to the grime kids.
I played it at the 40 Watt.
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 The Monks. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Gang of Four,
Kas Product,
Motorama,
Funky Four + One,
Pagans,
the Association,
Wire,
Bush Tetras,
Slave,
Curtis Mayfield,
Arab on Radar,
Urselle,
Dark Day,
Minny Pops,
Man Parrish,
Tears for Fears,
Bronski Beat,
The Durutti Column,
Scion,
Johnny Osbourne,
Pantytec,
Symarip,
Heaven 17,
the Fania All-Stars,
Nils Olav,
The Real Kids,
Jesper Dahlback,
Traffic Nightmare,
The Misunderstood,
Slick Rick,
Lalann,
Pussy Galore,
Saccharine Trust,
Robert Hood,
Metal Thangz,
48th St. Collective,
Dawn Penn,
Fela Kuti,
Alison Limerick,
The Buckinghams,
Delta 5,
Henry Cow,
Gian Franco Pienzio,
Smog,
Faraquet,
Bootsy's Rubber Band,
Aloha Tigers,
Orchestral Manoeuvres in the Dark,
Suicide,
Joy Division,
Visionaries,LMNO, T- Love & Iriscience,
Procol Harum,
Quadrant,
Half Japanese,
Black Flag,
Pulsallama,
The Beau Brummels,
The Selecter,
The Detroit Cobras,
DNA,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.