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 Bahrain and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1972.
I'm losing my edge.
To all the kids in Paris and Lyon.
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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Wake to the crunk kids.
I played it at the Astoria.
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 Urselle. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Hoover,
Charles Mingus,
Kaleidoscope,
Bluetip,
Toni Rubio,
Sällskapet,
Oppenheimer Analysis,
Gastr Del Sol,
Big Daddy Kane,
Shoche,
FM Einheit,
Nirvana,
Alison Limerick,
Todd Rundgren,
Captain Beefheart & His Magic Band,
Letta Mbulu,
B.T. Express,
Dark Day,
The Techniques,
The Divine Comedy,
Deakin,
Saccharine Trust,
Malaria!,
Motorama,
De La Soul & Jungle Brothers,
David Axelrod,
The Searchers,
Sister Nancy,
Faraquet,
The Golliwogs,
Rhythim Is Rhythim,
Kauko Röyhkä ja Narttu,
Ash Ra Tempel,
Sonny Sharrock,
Groovy Waters,
DNA,
Duran Duran,
Bobbi Humphrey,
John Holt,
10cc,
Piero Umiliani,
Laurel Aitken,
Man Eating Sloth,
The Slits,
Arcadia,
Spoonie Gee,
The Seeds,
The Fall,
Arthur Verocai,
Roxette,
Juan Atkins,
Roger Hodgson,
Pagans,
Orchestral Manoeuvres in the Dark,
Brothers Johnson,
Moebius,
Niagra,
Tom Boy,
Cheater Slicks,
Country Joe & The Fish,
Roy Ayers Ubiquity,
Q65, Q65, Q65, Q65.
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.