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 Greece and from Madrid.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Milan 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 808 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 Fad Gadget to the funk kids.
I played it at Trash.
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 One Last Wish. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Brass Construction,
Parry Music,
Magma,
Japan,
Scott Walker,
Gong,
Mission of Burma,
The Doors,
Scion,
Gil Scott Heron,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Alison Limerick,
Bauhaus,
A Flock of Seagulls,
Pete Rock & C.L. Smooth,
A Certain Ratio,
Marc Romboy vs. Booka Shade,
The Misunderstood,
Stereo Dub,
Urselle,
This Heat,
Section 25,
Johnny Osbourne,
Boz Scaggs,
The Stooges,
Oneida,
The Gap Band,
Marine Girls,
UT,
Bobby Byrd,
Liaisons Dangereuses,
Swell Maps,
Peter & Gordon,
Pagans,
Glenn Branca,
Jimmy McGriff,
Fear,
Rapeman,
Clear Light,
Agitation Free,
Cameo,
Spoonie Gee,
Lonnie Liston Smith,
Frankie Knuckles,
Bush Tetras,
Siglo XX,
Robert Görl,
DJ Style,
The Red Krayola,
Sight & Sound,
Sister Nancy,
Lou Reed & Metallica,
Matthew Halsall,
The Mummies,
Todd Terry,
Camouflage,
Steve Hackett,
Dark Day,
Reuben Wilson,
The Five Americans,
Teenage Jesus and the Jerks,
Godley & Creme,
Black Moon,
the Slits, the Slits, the Slits, the Slits.
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.