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 Hungary and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Stockholm 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 theremin 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 Albert Ayler to the punk 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 Robert Wyatt. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Spandau Ballet,
James White and The Blacks,
Aaron Thompson,
Black Sheep,
X-101,
Curtis Mayfield,
New Order,
David Axelrod,
Monolake,
Sonny Sharrock,
The Index,
Jawbox,
Rufus Thomas,
Isaac Hayes,
The Music Machine,
cv313,
Black Flag,
David Bowie,
Cameo,
Clear Light,
Sexual Harrassment,
Delon & Dalcan,
Slave,
The Detroit Cobras,
Zero Boys,
Amon Düül,
Sad Lovers and Giants,
Roy Ayers Ubiquity,
The Velvet Underground,
Alice Coltrane,
The Walker Brothers,
The Zeros,
Metal Thangz,
Kenny Larkin,
Al Stewart,
Marine Girls,
Bobby Sherman,
Ajijia Myrayebe,
Icehouse,
John Cale,
The Smoke,
E-Dancer,
Bizarre Inc.,
The Leaves,
Bobby Byrd,
Arcadia,
Los Fastidios,
Cybotron,
Grandmaster Flash,
Henry Cow,
Kango’s Stein Massive,
Unwound,
Porter Ricks,
the Slits,
The Pop Group,
Tropical Tobacco,
Adolescents,
Stockholm Monsters,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.