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 the UAE and from Cairo.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Milan 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 K-Klass to the rock kids.
I played it at the Roxy.
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 Joe Finger. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Hardrive,
Siouxsie and the Banshees,
Dual Sessions,
Mad Mike,
Roxette,
Althea and Donna,
Ituana,
Royal Trux,
Be Bop Deluxe,
Aural Exciters,
Soul II Soul,
Cecil Taylor,
The Sound,
MDC,
Nas,
Cheater Slicks,
Strawberry Alarm Clock,
Beasts of Bourbon,
Echo & the Bunnymen,
Slick Rick,
Khruangbin,
Rowland S Howard / Lydia Lunch,
Dawn Penn,
Ultravox,
Talk Talk,
Camouflage,
Bobby Byrd,
Parry Music,
The Pretty Things,
Bad Manners,
Richard Hell and the Voidoids,
The Moody Blues,
Reagan Youth,
Pylon,
Swell Maps,
The Zeros,
Model 500,
Quantec,
The Wake,
L. Decosne,
Gichy Dan,
Sparks,
Mandrill,
Ice-T,
The Neon Judgement,
The Barracudas,
Orchestral Manoeuvres in the Dark,
Arthur Verocai,
Cameo,
Loose Ends,
Gang Starr,
Babytalk,
Joe Smooth,
Ponytail,
Stockholm Monsters,
Deakin,
Byron Stingily,
The Alarm Clocks,
Livin' Joy,
Howard Jones,
Grandmaster Flash,
Scratch Acid,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.