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 Bahamas and from Bologna.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Brass Construction to the crunk 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 Eli Mardock. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Oneida 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Marcia Griffiths,
The United States of America,
Traffic Nightmare,
Anakelly,
Echo & the Bunnymen,
X-101,
Manfred Mann's Earth Band,
Aswad,
Lebanon Hanover,
8 Eyed Spy,
Justin Hinds & The Dominoes,
Sixth Finger,
Gang Green,
Marc Almond,
Marc Romboy vs. Booka Shade,
Swell Maps,
Susan Cadogan,
Flipper,
the Bar-Kays,
Zapp,
48th St. Collective,
The Five Americans,
The Detroit Cobras,
Joe Smooth,
Roxette,
The Remains,
EPMD,
John Cale,
Desert Stars,
Eric B and Rakim,
Sun Ra Arkestra,
K-Klass,
The Saints,
This Heat,
a-ha,
The Offenders,
John Lydon,
Boz Scaggs,
Johnny Clarke,
Michelle Simonal,
Rahsaan Roland Kirk,
Kauko Röyhkä ja Narttu,
PIL,
Skarface,
Young Marble Giants,
Gang Gang Dance,
Lungfish,
Guru Guru,
A Flock of Seagulls,
Panda Bear,
Amazonics,
Todd Terry,
AZ,
DNA,
The Happenings,
Ossler,
Eurythmics,
Massinfluence,
X-Ray Spex,
Q and Not U,
Bang On A Can,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.