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 Jamaica and from Lyon.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Cairo.
I'm losing my edge to the art-school Houston 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 Art of Noise practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 In Retrospect to the crunk kids.
I played it at the Troubador.
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 The Vogues. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Crime 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Avey Tare's Slasher Flicks,
Boredoms,
the Bar-Kays,
The Misunderstood,
The Standells,
Man Eating Sloth,
Roxy Music,
JFA,
Aaron Thompson,
Minutemen,
Stockholm Monsters,
Henry Cow,
Delon & Dalcan,
The Shadows of Knight,
Lou Christie,
The Victims,
Scion,
Altered Images,
Simply Red,
Johnny Osbourne,
The Black Dice,
Roxette,
Technova,
Ultimate Spinach,
Gil Scott-Heron & Brian Jackson,
Radiopuhelimet,
Piero Umiliani,
Kevin Saunderson,
The Buckinghams,
Darondo,
Rahsaan Roland Kirk,
Jesper Dahlbäck,
Arab on Radar,
Radiohead,
Negative Approach,
Patti Smith,
Loose Ends,
Index,
Pete Rock & C.L. Smooth,
Joy Division,
Pet Shop Boys,
Kerri Chandler,
Tropical Tobacco,
Niagra,
Big Daddy Kane,
Wire,
Joyce Sims,
Liaisons Dangereuses,
Steve Hackett,
Bobby Sherman,
Q65,
Wolf Eyes,
Skarface,
Mary Jane Girls,
These Immortal Souls,
The Blackbyrds,
Louis and Bebe Barron,
Terry Callier,
Marc Romboy vs. Booka Shade,
La Düsseldorf,
London Community Gospel Choir,
Strawberry Alarm Clock,
Captain Beefheart & His Magic Band,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.