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 Guatemala and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Jerry Gold Smith to the rap kids.
I played it at Cafe Wha.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Underground Resistance,
Bobby Sherman,
Dawn Penn,
Gichy Dan,
The Sisters of Mercy,
Clear Light,
Marvin Gaye,
T. Rex,
Echospace,
Qualms,
Monks,
The Victims,
Tropical Tobacco,
The Leaves,
The Slackers,
Heaven 17,
Justin Hinds & The Dominoes,
Glenn Branca,
Avey Tare's Slasher Flicks,
Ossler,
Boogie Down Productions,
Jesper Dahlback,
Matthew Halsall,
Gil Scott Heron,
Cymande,
The Doors,
The Barracudas,
The Birthday Party,
Dorothy Ashby,
Neu!,
Danielle Patucci,
Grauzone,
Althea and Donna,
Brass Construction,
Electric Light Orchestra,
X-102,
The Standells,
Super Lover Cee & Casanova Rud,
Piero Umiliani,
Delon & Dalcan,
Orchestral Manoeuvres in the Dark,
Barry Ungar,
Vladislav Delay,
Camron Feat. Jay Z And Juelz,
Kauko Röyhkä ja Narttu,
The Jesus and Mary Chain,
Tears for Fears,
Adolescents,
Fifty Foot Hose,
The Black Dice,
The Move,
June Days,
48th St. Collective,
Rahsaan Roland Kirk,
the Human League,
X-Ray Spex,
Ludus,
Ultimate Spinach,
The Skatalites,
Sound Behaviour,
The New Christs,
The Trojans, The Trojans, The Trojans, The Trojans.
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.