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 Taiwan and from Beijing.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Calgary 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 theremin 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 Von Mondo to the dance 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 Jacob Miller. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal disco 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
CMW,
B.T. Express,
Adolescents,
The Slackers,
The Residents,
Mark Hollis,
Black Moon,
Andrew Hill,
T. Rex,
Cymande,
Duran Duran,
Rosa Yemen,
The Dirtbombs,
Whodini,
Marshall Jefferson,
Wings,
the Human League,
Frankie Knuckles,
The Cowsills,
Deepchord,
Harpers Bizarre,
Niagra,
ABBA,
Pierre Henry,
Sex Pistols,
New Age Steppers,
David McCallum,
Pulsallama,
Bush Tetras,
Black Flag,
Glenn Branca,
The Moleskins,
Gichy Dan,
Oblivians,
H. Thieme,
Electric Light Orchestra,
Tropical Tobacco,
Slave,
Sticky Fingaz feat. Raekwon,
Henry Cow,
Banda Bassotti,
Derrick May,
Robert Görl,
Dual Sessions,
Au Pairs,
Johnny Clarke,
Model 500,
The Golliwogs,
Malaria!,
Roxette,
Flamin' Groovies,
The Detroit Cobras,
Funkadelic,
Angry Samoans,
Zapp,
Sun Ra Arkestra,
Suburban Knight,
Lou Reed & John Cale,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.