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 Latvia and from Sao Paulo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Tres Demented to the disco 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 The Slackers. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Dual Sessions,
PIL,
Siglo XX,
Jesper Dahlback,
Jacques Brel,
Danielle Patucci,
World's Most,
Röyhkä ja Rättö ja Lehtisalo,
Ituana,
Rakim,
Chrome,
Marvin Gaye,
Black Pus,
Scott Walker,
The Cure,
Echospace,
The Barracudas,
Sunsets and Hearts,
Motorama,
The Electric Prunes,
Can,
the Germs,
The Red Krayola,
Dr. Dre and Snoop Doggy Dog,
Model 500,
These Immortal Souls,
Vaughan Mason & Crew,
Lungfish,
Sight & Sound,
Kurtis Blow,
Rhythm & Sound,
DNA,
Justin Hinds & The Dominoes,
Chris & Cosey,
the Normal,
Deepchord,
Barbara Tucker,
Underground Resistance,
Louis and Bebe Barron,
Qualms,
Sun City Girls,
Q and Not U,
Soft Machine,
Roy Ayers Ubiquity,
Sonic Youth,
Parry Music,
Warren Ellis,
Byron Stingily,
Deadbeat,
Bobby Byrd,
Boogie Down Productions,
Niagra,
Pete Rock & C.L. Smooth,
Fela Kuti,
The Gun Club,
Smog,
The Doors,
Sonny Sharrock,
Maurizio,
Marshall Jefferson,
Outsiders, Outsiders, Outsiders, Outsiders.
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.