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 Gambia and from London.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 guitar 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 Darondo to the grime kids.
I played it at the 40 Watt.
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 Motorama. All the underground hits.
All JFA tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Ice-T,
Soulsonic Force,
the Fania All-Stars,
Roxette,
Tomorrow,
Connie Case,
The Walker Brothers,
Jerry Gold Smith,
Josef K,
Bootsy Collins,
Avey Tare & Kría Brekkan,
the Association,
Marc Almond,
In Retrospect,
Pagans,
Roxy Music,
Anakelly,
Cameo,
Japan,
David McCallum,
Saccharine Trust,
Dead Boys,
The Invisible,
Quadrant,
Notorious Big And Bone Thugs,
Alice Coltrane,
Young Marble Giants,
Gil Scott-Heron and Jamie xx,
Sly & The Family Stone,
The Sound,
Curtis Mayfield,
The Monks,
Tim Buckley,
The Searchers,
Sound Behaviour,
Cal Tjader,
Joey Negro,
Oneida,
Pharoah Sanders,
Gastr Del Sol,
Bang on a Can All-Stars,
London Community Gospel Choir,
Tommy Roe,
Kurtis Blow,
The Slackers,
The Cosmic Jokers,
Scott Walker,
World's Most,
Bush Tetras,
Blake Baxter,
Lucky Dragons,
Depeche Mode,
Marc Romboy vs. Booka Shade,
The Selecter,
The Remains,
Kool G Rap & DJ Polo,
Tubeway Army,
Idris Muhammad,
The Cramps,
Archie Shepp,
Wings,
The United States of America,
The Gories, The Gories, The Gories, The Gories.
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.