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 Luxembourg 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 1960 to 1975.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Stockholm Monsters to the techno kids.
I played it at Trash.
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 Hardrive. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Drive Like Jehu 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
The Dirtbombs,
The Monochrome Set,
Camberwell Now,
Von Mondo,
Bronski Beat,
Camron Feat. Memphis Bleek And Beenie Seigel,
New Age Steppers,
Susan Cadogan,
New Order,
Kerrie Biddell,
Swans,
Depeche Mode,
David Bowie,
Crispy Ambulance,
Brick,
Arthur Verocai,
Donald Byrd,
Scrapy,
The Remains,
Stiv Bators,
The Music Machine,
Unrelated Segments,
Aural Exciters,
Aswad,
Skriet,
Arab on Radar,
Marine Girls,
The J.B.'s,
The Gap Band,
Y Pants,
The Cure,
The Star Department,
Kurtis Blow,
The Busters,
Bad Manners,
Peter Gordon & Love of Life Orchestra,
Rotary Connection,
Drexciya,
Nick Fraelich,
Gastr Del Sol,
Howard Jones,
Television,
Jesper Dahlbäck,
Wire,
Cluster,
Ten City,
Scan 7,
Royal Trux,
Jeru the Damaja,
Johnny Clarke,
Bobbi Humphrey,
Sällskapet,
Colin Newman,
the Association,
The Selecter,
London Community Gospel Choir,
Vainqueur,
The Sound,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.