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 Somalia and from Tokyo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Portland 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 808 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 The Doors to the rock 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 Saccharine Trust. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Funky Four + One 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 '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Alphaville,
Newcleus,
Man Parrish,
Symarip,
Gary Puckett & The Union Gap,
Soft Cell,
Bauhaus,
Nation of Ulysses,
Negative Approach,
Q and Not U,
Fort Wilson Riot,
Jerry Gold Smith,
Soulsonic Force,
Sixth Finger,
Jacob Miller,
Mary Jane Girls,
Glenn Branca,
Davy DMX,
Hasil Adkins,
The Pop Group,
Crash Course in Science,
Derrick May,
The Victims,
Magazine,
Ituana,
Chris & Cosey,
Barclay James Harvest,
Art Ensemble Of Chicago,
Tom Boy,
Scion,
The Slits,
Ultravox,
Thee Headcoats,
Moby Grape,
MDC,
Trumans Water,
Underground Resistance,
Pierre Henry,
Harmonia,
Oneida,
Tears for Fears,
Delta 5,
Bob Dylan,
The Leaves,
Deakin,
JFA,
Camberwell Now,
Traffic Nightmare,
Robert Hood,
The Mummies,
Darondo,
Sex Pistols,
Röyhkä ja Rättö ja Lehtisalo,
Pole,
The Neon Judgement,
Minor Threat,
Tres Demented,
Soft Machine,
Cybotron,
One Last Wish,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.