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 Ethiopia and from Bologna.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Milan 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 808 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 Eyeless In Gaza to the rock kids.
I played it at the Crocodile.
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 Gabor Szabo. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The West Coast Pop Art Experimental Band,
Todd Terry,
Bad Manners,
Oppenheimer Analysis,
Girls At Our Best!,
The Alarm Clocks,
The Fuzztones,
Dual Sessions,
Teenage Jesus and the Jerks,
Barclay James Harvest,
Judy Mowatt,
De La Soul & Jungle Brothers,
Panda Bear,
Skriet,
Depeche Mode,
Sonny Sharrock,
Fat Boys,
The Velvet Underground,
DNA,
Stetsasonic,
Grandmaster Flash,
Yusef Lateef,
Niagra,
Sister Nancy,
Bill Near,
The Standells,
Connie Case,
The Detroit Cobras,
The Misunderstood,
Sällskapet,
DJ Style,
New Age Steppers,
Siouxsie and the Banshees,
Dead Boys,
Sugar Minott,
Junior Murvin,
The Associates,
Marc Almond,
Babytalk,
Robert Hood,
John Holt,
the Fania All-Stars,
Swans,
Michelle Simonal,
Camberwell Now,
Lebanon Hanover,
Cymande,
The Red Krayola,
Agitation Free,
Japan,
the Soft Cell,
Susan Cadogan,
Louis and Bebe Barron,
Amon Düül,
Sam Rivers,
Blossom Toes,
Skarface,
Bill Wells,
The Moleskins,
Lightning Bolt,
a-ha,
Skaos, Skaos, Skaos, Skaos.
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.