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 Philippines and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 Ten City to the disco 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 John Coltrane. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Offenders,
Echo & the Bunnymen,
Fluxion,
Pharoah Sanders,
Massinfluence,
David McCallum,
Andrew Ashong & Theo Parrish,
Wire,
MC5,
Delon & Dalcan,
The Blackbyrds,
Carl Craig,
Lonnie Liston Smith,
Magma,
The Doobie Brothers,
Whodini,
Cabaret Voltaire,
Audionom,
LL Cool J,
Johnny Osbourne,
Japan,
Motorama,
Quantec,
Bob Dylan,
Angry Samoans,
Eyeless In Gaza,
Chris Corsano,
Gary Puckett & The Union Gap,
Al Stewart,
Stiv Bators,
Pet Shop Boys,
Juan Atkins,
Monolake,
Ohio Players,
Dave Gahan,
Barry Ungar,
Harpers Bizarre,
PIL,
Scratch Acid,
Brick,
Ajijia Myrayebe,
Fifty Foot Hose,
The Sound,
Gil Scott Heron,
Anakelly,
Boogie Down Productions,
Ronnie Foster,
The Cure,
The United States of America,
David Axelrod,
The Chocolate Watch Band,
The New Christs,
Pantytec,
Pole,
Franke,
John Coltrane,
Swell Maps,
Amon Düül II,
Lou Reed & John Cale,
Bootsy's Rubber Band,
Henry Cow,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.