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 Portugal and from Lille.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Lyon 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Eden Ahbez to the grime kids.
I played it at CBGB's.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Crispy Ambulance 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Godley & Creme,
The Dirtbombs,
Bizarre Inc.,
Dawn Penn,
The Fortunes,
The Litter,
Lalo Schifrin,
Marshall Jefferson,
The Mighty Diamonds,
Lightning Bolt,
Yellowson,
Freddie Wadling,
the Soft Cell,
Boogie Down Productions,
Rotary Connection,
Radio Birdman,
New Age Steppers,
The Mojo Men,
The Count Five,
Manfred Mann's Earth Band,
The Techniques,
Archie Shepp,
Bronski Beat,
Soft Cell,
Jesper Dahlback,
The Toasters,
Brass Construction,
A Flock of Seagulls,
Darondo,
Barry Ungar,
The Neon Judgement,
Glenn Branca,
Erasure,
Rosa Yemen,
The Leaves,
Anthony Braxton,
The United States of America,
Todd Terry,
Susan Cadogan,
Sad Lovers and Giants,
David McCallum,
Lou Reed & John Cale,
Half Japanese,
Audionom,
Scratch Acid,
The West Coast Pop Art Experimental Band,
Can,
MC5,
Barrington Levy,
The Golliwogs,
Echospace,
Eurythmics,
Bobby Sherman,
Von Mondo,
The Blackbyrds,
Pantytec,
Super Lover Cee & Casanova Rud,
Kool G Rap & DJ Polo,
Girls At Our Best!,
Infiniti,
Harry Pussy,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.