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 Moldova and from Taipei.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 John Holt to the disco kids.
I played it at the Astoria.
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 Skarface. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
London Community Gospel Choir,
T.S.O.L.,
CMW,
Tom Boy,
David Axelrod,
Bluetip,
Blake Baxter,
The Gladiators,
The Golliwogs,
Throbbing Gristle,
Organ,
Fifty Foot Hose,
Second Layer,
Rosa Yemen,
Aural Exciters,
Jacob Miller,
Notorious BIG live in Amsterdam,
Visage,
Rowland S Howard / Lydia Lunch,
The Sisters of Mercy,
The Mighty Diamonds,
Kerrie Biddell,
Little Man,
Ultra Naté,
Gil Scott Heron,
Suburban Knight,
Rod Modell,
Depeche Mode,
Kaleidoscope,
D'Angelo,
Fort Wilson Riot,
Ultravox,
Davy DMX,
Ronan,
Sight & Sound,
Marmalade,
Larry & the Blue Notes,
Boredoms,
Cybotron,
Letta Mbulu,
Dennis Brown,
Tomorrow,
The Men They Couldn't Hang,
Chris & Cosey,
LL Cool J,
Man Parrish,
Scratch Acid,
Thinking Fellers Union Local 282,
Interpol,
Delta 5,
Thompson Twins,
The Last Poets,
Lyres,
Lungfish,
New Order,
Nirvana,
the Slits,
Erasure,
The Offenders,
Funkadelic,
Pete Rock & C.L. Smooth,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.