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 Nigeria and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1976.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Beijing 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 snare sounds with much patience.
I was there when Robert Palmer 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 Gil Scott Heron to the dance kids.
I played it at the Crocodile.
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 David McCallum. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Mission of Burma,
The Mighty Diamonds,
Lou Reed & John Cale,
The Mojo Men,
Thompson Twins,
The Buckinghams,
Barry Ungar,
Lower 48,
Mark Hollis,
Tres Demented,
Mo-Dettes,
Niagra,
10cc,
Jeru the Damaja,
Crispy Ambulance,
The Index,
The Divine Comedy,
London Community Gospel Choir,
The West Coast Pop Art Experimental Band,
Swans,
Blake Baxter,
The Jesus and Mary Chain,
Little Man,
Vainqueur,
Hasil Adkins,
Lalann,
Crispian St. Peters,
Fear,
Deakin,
Harpers Bizarre,
Underground Resistance,
Silicon Teens,
Zapp,
cv313,
Technova,
This Heat,
Ituana,
Absolute Body Control,
Soft Machine,
The Fire Engines,
Ultravox,
Lizzy Mercier Descloux,
Section 25,
Orchestral Manoeuvres in the Dark,
Aloha Tigers,
John Foxx,
The Motions,
Bobby Byrd,
Sonic Youth,
Second Layer,
Lafayette Afro Rock Band,
Fad Gadget,
Scan 7,
the Swans,
Bluetip,
Tomorrow,
The Busters,
KRS-One,
Das Ding,
Rhythm & Sound,
World's Most,
The Doors, The Doors, The Doors, The Doors.
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.