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 Estonia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1971.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Toronto 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 Sister Nancy to the grime 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 the Bar-Kays. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Hardrive,
Camron Feat. Memphis Bleek And Beenie Seigel,
R.M.O.,
H. Thieme,
The Zeros,
Arab on Radar,
The Seeds,
Yazoo,
Ronnie Foster,
The Monks,
Underground Resistance,
Susan Cadogan,
Richard Hell and the Voidoids,
Fluxion,
Sonny Sharrock,
PIL,
Marine Girls,
Eric B and Rakim,
Kayak,
Lizzy Mercier Descloux,
OOIOO,
Spandau Ballet,
Mars,
Kings Of Tomorrow,
Pole,
Siouxsie and the Banshees,
Kauko Röyhkä ja Narttu,
The Selecter,
David Axelrod,
Bob Dylan,
The Smoke,
Scott Walker + Sunn O))),
Ohio Players,
The American Breed,
The Monochrome Set,
Kas Product,
Crispy Ambulance,
Lakeside,
Don Cherry,
The Dave Clark Five,
The Star Department,
Rod Modell,
A Certain Ratio,
Fugazi,
The Vogues,
The Mojo Men,
June of 44,
Amazonics,
Andrew Hill,
Lucky Dragons,
Zero Boys,
Yusef Lateef,
Negative Approach,
Stockholm Monsters,
The Cowsills,
Desert Stars,
Sixth Finger,
Alphaville,
The Alarm Clocks,
Max Romeo,
Unrelated Segments,
DNA,
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.