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 Dominican Republic and from Seoul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Lizzy Mercier Descloux to the techno 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 New Age Steppers. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Cave & The Bad Seeds,
Dark Day,
Andrew Hill,
Chrome,
The Buckinghams,
The Mojo Men,
China Crisis,
The Men They Couldn't Hang,
Black Bananas,
Suburban Knight,
Tommy Roe,
Slave,
The Jesus and Mary Chain,
Pantaleimon,
Bobbi Humphrey,
Black Pus,
OOIOO,
Gang Gang Dance,
Rosa Yemen,
Todd Terry,
The Toasters,
Funkadelic,
Swell Maps,
Dave Gahan,
Steve Hackett,
the Sonics,
Pylon,
KRS-One,
Rufus Thomas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Max Romeo,
Niagra,
the Fania All-Stars,
Arcadia,
The Slackers,
Slick Rick,
Larry & the Blue Notes,
Bootsy's Rubber Band,
Amazonics,
Derrick Morgan,
The Black Dice,
The Smiths,
Rites of Spring,
DeepChord presents Echospace,
The Vogues,
Agent Orange,
Freddie Wadling,
The Martian,
Ultramagnetic MC's,
James White and The Blacks,
Frankie Knuckles,
Fort Wilson Riot,
Average White Band,
Flash Fearless,
Harpers Bizarre,
Country Teasers,
The Fall,
These Immortal Souls,
The Alarm Clocks,
The Victims,
Roy Ayers,
Das Ding,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.