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 Japan and from Glasgow.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when Michael McDonald 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 CMW to the electroclash kids.
I played it at Cafe Wha.
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 Soft Machine. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Peanut Butter Conspiracy record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Siouxsie and the Banshees,
UT,
Throbbing Gristle,
The Saints,
The Buckinghams,
Crispian St. Peters,
Metal Thangz,
Camberwell Now,
The Neon Judgement,
Wasted Youth,
Gil Scott-Heron and Jamie xx,
Roxette,
Ajijia Myrayebe,
Adolescents,
Morten Harket,
Godley & Creme,
New Order,
Kevin Saunderson,
The Star Department,
Art Ensemble Of Chicago,
Essential Logic,
Schoolly D,
Khruangbin,
Tears for Fears,
Johnny Osbourne,
Groovy Waters,
Neil Young,
Radio Birdman,
Al Stewart,
Curtis Mayfield,
The Moleskins,
Sun City Girls,
The Young Rascals,
the Slits,
Rites of Spring,
Procol Harum,
Bauhaus,
Neu!,
Arthur Verocai,
Henry Cow,
The Real Kids,
Marcia Griffiths,
Quantec,
Marmalade,
Make Up,
The Doors,
Lou Reed & Metallica,
Gang Green,
Das Ding,
Crispy Ambulance,
Carl Craig,
Ken Boothe,
Urselle,
Gian Franco Pienzio,
John Coltrane,
The Toasters,
Eddi Front,
Lower 48,
Boredoms,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.