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 Papua New Guinea and from Manila.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1972.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 The Pop Group to the rap kids.
I played it at the 40 Watt.
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 Skaos. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Pharaoh Sanders and the Fire Engines,
Sound Behaviour,
Blake Baxter,
Darondo,
The Knickerbockers,
The Shadows of Knight,
Vladislav Delay,
The Birthday Party,
Roy Ayers Ubiquity,
Traffic Nightmare,
Peter & Gordon,
Lightning Bolt,
Brothers Johnson,
Manfred Mann's Earth Band,
The Music Machine,
The Motions,
Godley & Creme,
Rufus Thomas,
The Mojo Men,
Matthew Halsall,
Scientists,
The Pretty Things,
Clear Light,
The Blackbyrds,
Smog,
Drive Like Jehu,
Kauko Röyhkä ja Narttu,
Fifty Foot Hose,
Spandau Ballet,
Nils Olav,
Soulsonic Force,
Infiniti,
Gil Scott Heron,
James Chance & The Contortions,
Wire,
Derrick May,
Lindisfarne,
Byron Stingily,
Khruangbin,
Organ,
Cabaret Voltaire,
DJ Sneak,
Freddie Wadling,
Letta Mbulu,
The Sound,
Harpers Bizarre,
Supertramp,
The Men They Couldn't Hang,
Essential Logic,
Warsaw,
Brass Construction,
Eli Mardock,
Rhythim Is Rhythim,
Von Mondo,
Nas,
The Flesh Eaters,
Gang of Four,
Jandek,
Pulsallama,
Accadde A,
The Names,
The Techniques,
Joe Finger,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.