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 Montenegro 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 1968 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Nik Kershaw to the disco 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 Inner City. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds 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 '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Fort Wilson Riot,
Stereo Dub,
Adolescents,
The Men They Couldn't Hang,
Rosa Yemen,
Slave,
James White and The Blacks,
Kerrie Biddell,
Sugar Minott,
The Sisters of Mercy,
Jandek,
Supertramp,
Laurel Aitken,
Gian Franco Pienzio,
Suicide,
Anthony Braxton,
X-Ray Spex,
Parry Music,
Reuben Wilson,
John Cale,
Andrew Hill,
KRS-One,
Average White Band,
UT,
Arthur Verocai,
Junior Murvin,
Tomorrow,
Can,
Minnie Riperton,
The Blues Magoos,
Depeche Mode,
The Music Machine,
Scott Walker,
The Remains,
Pet Shop Boys,
Rotary Connection,
The Real Kids,
Joe Smooth,
Bluetip,
Ultimate Spinach,
Jeff Lynne,
Ultravox,
Terry Callier,
Faraquet,
The Black Dice,
Scientists,
John Coltrane,
Pulsallama,
a-ha,
Lindisfarne,
The Slits,
Curtis Mayfield,
Wolf Eyes,
The Blackbyrds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Peter and Kerry,
The Dead C,
The Star Department,
Lower 48,
The United States of America,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.