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 South Africa and from Delhi.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Glasgow 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Cure to the grime kids.
I played it at the Troubador.
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 Ultimate Spinach. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Count Five 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Scrapy,
Sexual Harrassment,
Shoche,
Jerry's Kids,
The Vogues,
Chris Corsano,
Kings Of Tomorrow,
Rekid,
This Heat,
Marc Almond,
the Association,
Mad Mike,
Monks,
Peter and Kerry,
Anthony Braxton,
The Red Krayola,
Swell Maps,
Soft Machine,
Grey Daturas,
Black Pus,
Freddie Wadling,
the Swans,
Reagan Youth,
Public Enemy,
Main Source,
The Five Americans,
The Durutti Column,
The Remains,
Eli Mardock,
Brick,
Kaleidoscope,
Bootsy Collins,
R.M.O.,
Ice-T,
Zapp,
Young Marble Giants,
The Victims,
Janne Schatter,
John Foxx,
Pantaleimon,
Leonard Cohen,
Pierre Henry,
Q65,
Skriet,
Big Daddy Kane,
Bizarre Inc.,
the Slits,
Radiopuhelimet,
Anakelly,
Qualms,
Black Moon,
The Misunderstood,
The Monks,
The Blues Magoos,
Clear Light,
Guru Guru,
The Invisible,
Altered Images,
Sly & The Family Stone,
Heavy D & The Boyz,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.