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 Poland and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1979.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Sao Paulo 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 Tom Verlaine 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 Connie Case to the jazz 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 Icehouse. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
L. Decosne,
Erasure,
Altered Images,
The Jesus and Mary Chain,
Joe Finger,
The Seeds,
Boogie Down Productions,
Fat Boys,
Freddie Wadling,
Jimmy McGriff,
Jesper Dahlbäck,
The Residents,
James Chance & The Contortions,
Public Enemy,
Zapp,
Electric Prunes,
Gastr Del Sol,
Accadde A,
Judy Mowatt,
Reuben Wilson,
Alice Coltrane,
Yaz,
Royal Trux,
Yellowson,
The Birthday Party,
Fifty Foot Hose,
Thompson Twins,
B.T. Express,
John Foxx,
Youth Brigade,
Vaughan Mason & Crew,
Vainqueur,
Captain Beefheart & His Magic Band,
Jerry's Kids,
Darondo,
Loose Ends,
Robert Görl,
The Black Dice,
the Bar-Kays,
Lee Hazlewood,
Jacob Miller,
Lucky Dragons,
Neil Young,
The Gun Club,
Jeff Mills,
Procol Harum,
Lou Reed,
Sex Pistols,
Sugar Minott,
Nation of Ulysses,
The Fuzztones,
Rapeman,
Babytalk,
Tropical Tobacco,
Moby Grape,
The Men They Couldn't Hang,
Piero Umiliani,
Mr. Review,
Little Man,
Shuggie Otis,
Bronski Beat,
Bootsy's Rubber Band,
Index, Index, Index, Index.
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.