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 Nicaragua and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Techniques to the techno 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 Deakin. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
The Alarm Clocks,
Magazine,
These Immortal Souls,
The Electric Prunes,
Funkadelic,
Mandrill,
Sound Behaviour,
Harpers Bizarre,
The Fortunes,
The Five Americans,
Gang of Four,
Gichy Dan,
Jerry Gold Smith,
Minny Pops,
Bauhaus,
Boogie Down Productions,
The Barracudas,
Erasure,
Oblivians,
Lou Reed,
Barclay James Harvest,
Deutsch Amerikanische Freundschaft,
Quando Quango,
The Music Machine,
8 Eyed Spy,
Art Ensemble Of Chicago,
Half Japanese,
Marine Girls,
The Stooges,
Neil Young & Crazy Horse,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Symarip,
Piero Umiliani,
Malaria!,
Pantytec,
Minutemen,
Sister Nancy,
Parry Music,
R.M.O.,
Eli Mardock,
Smog,
Blossom Toes,
Pagans,
The Kinks,
Toni Rubio,
Jimmy McGriff,
June of 44,
The Smiths,
Jerry's Kids,
Kenny Larkin,
Gabor Szabo,
In Retrospect,
Jacob Miller,
Kool Moe Dee,
Public Image Ltd.,
Avey Tare,
Circle Jerks,
F. McDonald,
The Wake,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.