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 Vietnam and from Jakarta.
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 1965 to 1973.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Clear Light to the electroclash kids.
I played it at the Spitz.
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 Barclay James Harvest. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Hashim 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Loose Ends,
The Techniques,
Blossom Toes,
Camberwell Now,
The Cowsills,
Radio Birdman,
Brass Construction,
Jacques Brel,
Audionom,
Clear Light,
Sun City Girls,
DeepChord presents Echospace,
Connie Case,
Hardrive,
Pet Shop Boys,
Deutsch Amerikanische Freundschaft,
Essential Logic,
Agent Orange,
Vladislav Delay,
Flamin' Groovies,
Visage,
Aaron Thompson,
Spandau Ballet,
Kas Product,
Sonic Youth,
Outsiders,
Steve Hackett,
Skaos,
Aswad,
The Velvet Underground,
The Invisible,
Don Cherry,
The Blues Magoos,
Nirvana,
the Normal,
Grauzone,
The Durutti Column,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
Dark Day,
It's A Beautiful Day,
Minor Threat,
Radiohead,
Crash Course in Science,
Sarah Menescal,
Graham Central Station,
Marc Almond,
Wally Richardson,
Bootsy's Rubber Band,
The Black Dice,
X-Ray Spex,
Hoover,
Mandrill,
Cymande,
Ronan,
John Foxx,
Suicide,
Kerri Chandler,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.