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 Lebanon and from Glasgow.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Manchester 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 mellotron 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 Thompson Twins to the techno 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 Kings Of Tomorrow. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Scott Walker + Sunn O))),
Roxy Music,
Judy Mowatt,
Rhythim Is Rhythim,
Lizzy Mercier Descloux,
Marmalade,
Banda Bassotti,
Tim Buckley,
The Modern Lovers,
Marcia Griffiths,
New Age Steppers,
Bang On A Can,
Nik Kershaw,
Teenage Jesus and the Jerks,
the Association,
Eli Mardock,
Lyres,
One Last Wish,
Bush Tetras,
Angry Samoans,
Deakin,
Sugar Minott,
The Cosmic Jokers,
Hardrive,
Skaos,
Ajijia Myrayebe,
Pagans,
Clear Light,
Joe Finger,
Stereo Dub,
Erasure,
Sexual Harrassment,
The Fire Engines,
The Star Department,
L. Decosne,
Oblivians,
Terry Callier,
Basic Channel,
Kings Of Tomorrow,
Scratch Acid,
Howard Jones,
Rosa Yemen,
Liliput,
The Misunderstood,
Swans,
Saccharine Trust,
Matthew Halsall,
Lower 48,
F. McDonald,
The Martian,
Unrelated Segments,
Laurel Aitken,
Von Mondo,
Funky Four + One,
The Sound,
The Residents,
Graham Central Station,
the Germs,
Quadrant,
Maleditus Sound,
Flash Fearless,
Pole,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.