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 Bolivia and from Lyon.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 Captain Beefheart 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 Victims to the funk kids.
I played it at CBGB's.
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 Cure. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Radiohead 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Boogie Down Productions,
New Order,
Connie Case,
Boredoms,
Nik Kershaw,
Sparks,
Slave,
Kayak,
T. Rex,
Rhythm & Sound,
Gil Scott Heron,
Maleditus Sound,
Brothers Johnson,
Lou Reed,
Kerri Chandler,
Harpers Bizarre,
Freddie Wadling,
Easy Going,
Justin Hinds & The Dominoes,
Reuben Wilson,
Sandy B,
Röyhkä ja Rättö ja Lehtisalo,
Wings,
Joensuu 1685,
the Fania All-Stars,
48th St. Collective,
Jeff Lynne,
Roxette,
The Golliwogs,
Throbbing Gristle,
The Gories,
Nation of Ulysses,
Larry & the Blue Notes,
Symarip,
Bizarre Inc.,
Lou Reed & John Cale,
Sister Nancy,
Black Sheep,
Dual Sessions,
Grandmaster Flash and the Furious Five,
Loose Ends,
X-101,
Joyce Sims,
The New Christs,
Nils Olav,
Icehouse,
The Shadows of Knight,
Leonard Cohen,
Nick Cave & The Bad Seeds,
Fort Wilson Riot,
Cluster,
Selector Dub Narcotic,
Eric B and Rakim,
Mr. Review,
Eric Dolphy,
Notorious BIG live in Amsterdam,
Ultra Naté,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Model 500,
The Moody Blues,
Eurythmics,
Mars, Mars, Mars, Mars.
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.