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 Madagascar and from Lagos.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Massinfluence to the dance kids.
I played it at the Spitz.
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 The Golliwogs. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
The Slits,
The Angels of Light,
Oblivians,
Bob Dylan,
Gil Scott Heron,
Japan,
Circle Jerks,
Alton Ellis,
Man Eating Sloth,
The Tremeloes,
The Doobie Brothers,
The Dead C,
Altered Images,
Darondo,
Thompson Twins,
Jerry's Kids,
Bill Wells,
Duran Duran,
B.T. Express,
Chris Corsano,
Masters at Work,
Byron Stingily,
Sunsets and Hearts,
Bluetip,
the Association,
The Last Poets,
Cameo,
Nick Cave & The Bad Seeds,
The Pop Group,
Fat Boys,
Roy Ayers Ubiquity,
Janne Schatter,
Nas,
John Lydon,
The Misunderstood,
Gerry Rafferty,
the Bar-Kays,
The Residents,
Sparks,
The Detroit Cobras,
Banda Bassotti,
The Alarm Clocks,
Jacques Brel,
Infiniti,
The Standells,
Ultra Naté,
John Holt,
Lucky Dragons,
The Zeros,
Ultravox,
Lower 48,
Scratch Acid,
Connie Case,
The Grass Roots,
Dark Day,
Underground Resistance,
Laurel Aitken,
Average White Band,
Neu!,
Das Ding,
The Vogues, The Vogues, The Vogues, The Vogues.
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.