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 Cape Verde and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Bronski Beat to the techno kids.
I played it at the Spitz.
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 Lindisfarne. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Cameo 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Roy Ayers Ubiquity,
The West Coast Pop Art Experimental Band,
James Chance & The Contortions,
Eddi Front,
Gian Franco Pienzio,
Super Lover Cee & Casanova Rud,
Delta 5,
Nick Cave & The Bad Seeds,
Faust,
Desert Stars,
Boredoms,
The Martian,
Sam Rivers,
Joy Division,
Duran Duran,
Flash Fearless,
Gary Puckett & The Union Gap,
Newcleus,
The Last Poets,
Althea and Donna,
H. Thieme,
The Leaves,
Carl Craig,
Selector Dub Narcotic,
Byron Stingily,
the Fania All-Stars,
Oppenheimer Analysis,
Lungfish,
The Residents,
Judy Mowatt,
The Misunderstood,
Aloha Tigers,
Grauzone,
The Fortunes,
Eve St. Jones,
Boogie Down Productions,
Pantytec,
The Black Dice,
Bluetip,
Orchestral Manoeuvres in the Dark,
Livin' Joy,
Babytalk,
Parry Music,
Half Japanese,
Mad Mike,
Connie Case,
Skriet,
Robert Hood,
Cluster,
Mission of Burma,
Wasted Youth,
Alice Coltrane,
X-Ray Spex,
Kerrie Biddell,
Sandy B,
Johnny Osbourne,
U.S. Maple,
Rakim,
The J.B.'s,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.