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 Dominican Republic and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
I'm losing my edge to the art-school Houston 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 spring reverb 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 The Durutti Column to the funk kids.
I played it at the Hacienda.
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 Urselle. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Loose Ends 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 '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Icehouse,
Rhythm & Sound,
Marshall Jefferson,
Lebanon Hanover,
Bob Dylan,
Howard Jones,
Kerrie Biddell,
Blake Baxter,
Nas,
Public Image Ltd.,
The Saints,
Pulsallama,
A Certain Ratio,
Girls At Our Best!,
The Five Americans,
Arab on Radar,
Sam Rivers,
Roy Ayers,
The Velvet Underground,
Gang Starr,
Patti Smith,
The Mummies,
Dorothy Ashby,
The Blues Magoos,
Tropical Tobacco,
Panda Bear,
Robert Wyatt,
Amazonics,
Eric Dolphy,
The Pop Group,
The Moleskins,
The Wake,
The Seeds,
Bauhaus,
Alice Coltrane,
Grey Daturas,
Tres Demented,
Make Up,
Brand Nubian,
Goldenarms,
Siglo XX,
John Holt,
Sex Pistols,
Soft Machine,
Aural Exciters,
Dead Boys,
Audionom,
Red Lorry Yellow Lorry,
The Fugs,
Gong,
Talk Talk,
Tim Buckley,
Marine Girls,
The Cramps,
Grandmaster Flash,
Michelle Simonal,
Model 500,
Ultimate Spinach,
Trumans Water,
Alphaville,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.