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 Liberia and from Manchester.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Madrid 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 marimba 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 Quando Quango to the crunk 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 Gang Gang Dance. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Electric Prunes,
Lightning Bolt,
Eddi Front,
Faust,
Rapeman,
Bizarre Inc.,
Lower 48,
The Men They Couldn't Hang,
Sunsets and Hearts,
Gregory Isaacs,
Avey Tare,
The Evens,
Can,
Anthony Braxton,
The Happenings,
Whodini,
Underground Resistance,
Bronski Beat,
The Jesus and Mary Chain,
Nils Olav,
Michelle Simonal,
Roy Ayers,
Chrome,
Jacques Brel,
Barry Ungar,
Rufus Thomas,
Funky Four + One,
Lakeside,
Barclay James Harvest,
Bill Wells,
The Fugs,
the Normal,
Deadbeat,
Dr. Dre and Snoop Doggy Dog,
Motorama,
Blossom Toes,
Visionaries,LMNO, T- Love & Iriscience,
Glenn Branca,
Outsiders,
Notorious Big And Bone Thugs,
Intrusion,
Shoche,
Rod Modell,
Mark Hollis,
Josef K,
Young Marble Giants,
Pharaoh Sanders and the Fire Engines,
James White and The Blacks,
Ultravox,
Interpol,
Glambeats Corp.,
Scratch Acid,
Bob Dylan,
Connie Case,
The Smiths,
Don Cherry,
Khruangbin,
Nico,
Surgeon,
Stetsasonic,
The Velvet Underground,
Flipper, Flipper, Flipper, Flipper.
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.