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 Marshall Islands and from Portland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Robert Hood to the grime kids.
I played it at Cafe Wha.
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 Bobby Byrd. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Reagan Youth 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Fort Wilson Riot,
World's Most,
Kayak,
Main Source,
China Crisis,
Technova,
Spoonie Gee,
Graham Central Station,
Iggy Pop,
Eden Ahbez,
Con Funk Shun,
The Shadows of Knight,
The Standells,
Byron Stingily,
The Techniques,
Siglo XX,
Inner City,
Deutsch Amerikanische Freundschaft,
The Gladiators,
The Raincoats,
Brass Construction,
Marshall Jefferson,
Easy Going,
Nick Cave & The Bad Seeds,
The Misunderstood,
Flash Fearless,
Ornette Coleman,
Simply Red,
Absolute Body Control,
The Royal Family And The Poor,
Subhumans,
Barry Ungar,
the Sonics,
Sun Ra Arkestra,
Idris Muhammad,
Liaisons Dangereuses,
The Gories,
Captain Beefheart & His Magic Band,
T. Rex,
Monolake,
Black Pus,
Flipper,
Newcleus,
Ash Ra Tempel,
the Germs,
De La Soul & Jungle Brothers,
Monks,
Cheater Slicks,
Gastr Del Sol,
Gil Scott-Heron & Brian Jackson,
Quando Quango,
The Alarm Clocks,
The Slits,
The Walker Brothers,
Joe Finger,
Faust,
Charles Mingus,
Black Sheep,
Gerry Rafferty,
Ten City,
Ossler,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.