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 Ivory Coast and from Paris.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Magazine to the grunge 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 Roxette. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Archie Shepp 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 '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Mandrill,
The Smiths,
Fort Wilson Riot,
Brass Construction,
The United States of America,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ornette Coleman,
The Walker Brothers,
A Certain Ratio,
Matthew Halsall,
Newcleus,
Archie Shepp,
Dave Gahan,
Johnny Clarke,
MDC,
AZ,
The Raincoats,
Peter and Kerry,
Bronski Beat,
Grey Daturas,
Erasure,
Masters at Work,
Nils Olav,
Alison Limerick,
Amon Düül,
Arthur Verocai,
Cecil Taylor,
Barbara Tucker,
Gil Scott-Heron & Brian Jackson,
The Litter,
Wally Richardson,
The Chocolate Watch Band,
Tropical Tobacco,
Gang Green,
The Busters,
Robert Wyatt,
Roxette,
The Index,
The Golliwogs,
Cabaret Voltaire,
Stiv Bators,
Rapeman,
Dorothy Ashby,
The Doobie Brothers,
Sonny Sharrock,
Aloha Tigers,
Mission of Burma,
Bill Wells,
Outsiders,
Sonic Youth,
Moby Grape,
Parry Music,
Excepter,
Arab on Radar,
Dawn Penn,
Dennis Brown,
Adolescents,
Pole,
Anakelly,
Fear,
the Germs,
Cymande,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.