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 Indonesia and from Shanghai.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Seoul and Salvador.
I'm losing my edge to the art-school Cairo 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 Art of Noise practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Louis and Bebe Barron to the jazz kids.
I played it at Trash.
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 Rhythim Is Rhythim. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Nas 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Gabor Szabo,
Supertramp,
Goldenarms,
Organ,
UT,
Technova,
Ultravox,
Lou Reed,
Cybotron,
The Moody Blues,
Sunsets and Hearts,
Flamin' Groovies,
Arcadia,
Notorious Big And Bone Thugs,
The United States of America,
Flash Fearless,
Monolake,
Mo-Dettes,
Jeru the Damaja,
Avey Tare's Slasher Flicks,
Maurizio,
Deepchord,
Eric Copeland,
June Days,
Blake Baxter,
Barrington Levy,
Kaleidoscope,
The Moleskins,
Soft Machine,
The Fuzztones,
Pulsallama,
Bill Near,
Reagan Youth,
The Cosmic Jokers,
Sexual Harrassment,
The Beau Brummels,
Thinking Fellers Union Local 282,
Tubeway Army,
The Doobie Brothers,
Altered Images,
Mars,
Don Cherry,
Rotary Connection,
Grey Daturas,
Stetsasonic,
Richard Hell and the Voidoids,
Scion,
Swell Maps,
Deadbeat,
The Slackers,
Barbara Tucker,
Yaz,
Sticky Fingaz feat. Raekwon,
Dawn Penn,
Magma,
Scott Walker,
The Mummies,
The Walker Brothers,
Strawberry Alarm Clock,
Alphaville, Alphaville, Alphaville, Alphaville.
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.