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 Bangladesh and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Dave Gahan to the rock 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 Public Image Ltd.. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter 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?
Ossler,
Blossom Toes,
Notorious Big And Bone Thugs,
Reuben Wilson,
Public Image Ltd.,
Gang Gang Dance,
the Slits,
Rakim,
Dave Gahan,
Brass Construction,
Toni Rubio,
The Doobie Brothers,
Johnny Osbourne,
Pylon,
Deutsch Amerikanische Freundschaft,
The Durutti Column,
Alice Coltrane,
KRS-One,
Fear,
Joe Smooth,
Soul II Soul,
Royal Trux,
Godley & Creme,
Faraquet,
The Moleskins,
Stereo Dub,
Max Romeo,
Ornette Coleman,
Joey Negro,
Los Fastidios,
Accadde A,
the Association,
AZ,
Byron Stingily,
Matthew Halsall,
Pulsallama,
Parry Music,
Camouflage,
Barrington Levy,
Scientists,
The Busters,
David McCallum,
Thee Headcoats,
Tom Boy,
London Community Gospel Choir,
The Real Kids,
Amazonics,
New Age Steppers,
Pharaoh Sanders and the Fire Engines,
Skaos,
Outsiders,
Derrick Morgan,
Dennis Brown,
Bronski Beat,
Fad Gadget,
The Fall,
The Martian,
Marc Almond,
The Kinks,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.