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 Tuvalu and from Madrid.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 James Chance & The Contortions to the rock 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 Andrew Hill. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal rap 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 a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Dark Day,
Amon Düül II,
The Associates,
Curtis Mayfield,
The Gun Club,
Ludus,
The Beau Brummels,
Terry Callier,
Ohio Players,
MDC,
Barrington Levy,
Bronski Beat,
Minny Pops,
Glenn Branca,
Rapeman,
The Music Machine,
Depeche Mode,
Bizarre Inc.,
The Shadows of Knight,
Nico,
Joyce Sims,
Newcleus,
Arthur Verocai,
the Soft Cell,
H. Thieme,
Easy Going,
David Axelrod,
The Velvet Underground,
Jeff Mills,
Heavy D & The Boyz,
Harpers Bizarre,
JFA,
Wolf Eyes,
The Remains,
Magma,
Rakim,
The Cure,
Ultra Naté,
Arab on Radar,
Aural Exciters,
Jerry Gold Smith,
Monks,
Radiopuhelimet,
The Tremeloes,
Wings,
Teenage Jesus and the Jerks,
Pharaoh Sanders and the Fire Engines,
Lou Reed,
Pussy Galore,
Porter Ricks,
Lyres,
Vainqueur,
Röyhkä ja Rättö ja Lehtisalo,
Cybotron,
Davy DMX,
Bootsy Collins,
The Flesh Eaters,
Camberwell Now,
The Techniques,
The Young Rascals,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.