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 Malawi and from Mumbai.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Houston 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 clarinet 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 The Birthday Party to the crunk kids.
I played it at Trash.
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 Spandau Ballet. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Grey Daturas 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Sad Lovers and Giants,
Thompson Twins,
Oppenheimer Analysis,
Big Daddy Kane,
A Flock of Seagulls,
Cecil Taylor,
Alphaville,
X-101,
Vaughan Mason & Crew,
The Sisters of Mercy,
The Residents,
Toni Rubio,
Glambeats Corp.,
The Blackbyrds,
Lower 48,
The Toasters,
Bobby Hutcherson,
Moby Grape,
Scott Walker,
Kings Of Tomorrow,
The Human League,
The United States of America,
Quantec,
One Last Wish,
Section 25,
Pantytec,
Icehouse,
Jacques Brel,
JFA,
Juan Atkins,
The Mighty Diamonds,
Rod Modell,
The Victims,
Panda Bear,
Terrestrial Tones,
Captain Beefheart & His Magic Band,
This Heat,
Angels of Light & Akron/Family,
The Techniques,
The Dave Clark Five,
Cal Tjader,
10cc,
Flash Fearless,
Pulsallama,
Pantaleimon,
Con Funk Shun,
Ultramagnetic MC's,
Country Teasers,
The Gap Band,
The Moody Blues,
Marine Girls,
The Durutti Column,
Sexual Harrassment,
Crooked Eye,
Morten Harket,
The Martian,
Eden Ahbez,
Alison Limerick,
MDC,
Malaria!,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.