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 Iran and from Edmonton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Mandrill to the grunge 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Graham Central Station,
Nas,
Big Daddy Kane,
Peter and Kerry,
It's A Beautiful Day,
The Electric Prunes,
Kauko Röyhkä ja Narttu,
Funky Four + One,
Angry Samoans,
Surgeon,
Selector Dub Narcotic,
Joensuu 1685,
The Knickerbockers,
Iggy Pop,
Spoonie Gee,
Yazoo,
Heavy D & The Boyz,
The Doobie Brothers,
Charles Mingus,
Pantaleimon,
Ultravox,
John Coltrane,
Oblivians,
Tommy Roe,
Icehouse,
Theoretical Girls,
Wings,
Bauhaus,
Radiopuhelimet,
The Motions,
Skaos,
Alphaville,
John Foxx,
The Music Machine,
Scratch Acid,
Crime,
Masters at Work,
Youth Brigade,
Deadbeat,
The Golliwogs,
The Chocolate Watch Band,
Franke,
Lou Reed & Metallica,
Eric Dolphy,
Gichy Dan,
Aaron Thompson,
Popol Vuh,
Fugazi,
Absolute Body Control,
Little Man,
Siouxsie and the Banshees,
The Last Poets,
Quantec,
London Community Gospel Choir,
Minnie Riperton,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
Amon Düül II,
Sunsets and Hearts,
Soft Cell,
The Fall,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.