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 Samoa and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Manila.
I'm losing my edge to the art-school Shanghai 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Ultra Naté to the punk kids.
I played it at the Hacienda.
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 Ice-T. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Sugar Minott 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Fortunes,
Kenny Larkin,
Dennis Brown,
Monks,
Red Lorry Yellow Lorry,
Arab on Radar,
Excepter,
Sun City Girls,
Matthew Bourne,
Minnie Riperton,
Gil Scott-Heron and Jamie xx,
The Electric Prunes,
Dawn Penn,
Junior Murvin,
Zapp,
Fort Wilson Riot,
Yellowson,
The Saints,
Kool Moe Dee,
Motorama,
Quantec,
Patti Smith,
The Smiths,
Brand Nubian,
Alphaville,
Bluetip,
Sunsets and Hearts,
Wasted Youth,
Strawberry Alarm Clock,
Stetsasonic,
Eric Copeland,
The Music Machine,
Pantaleimon,
Wire,
the Soft Cell,
Niagra,
The Zeros,
New Age Steppers,
Vainqueur,
Rhythm & Sound,
Thee Headcoats,
Ludus,
The Smoke,
The Human League,
Loose Ends,
Jawbox,
Boredoms,
Thompson Twins,
Suburban Knight,
Godley & Creme,
Moby Grape,
Mark Hollis,
Neil Young & Crazy Horse,
Rosa Yemen,
Hashim,
Bang On A Can,
Black Pus,
Grey Daturas,
Stiv Bators,
Faust,
Yaz,
The Skatalites,
Radiohead,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.