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 Samoa and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Faraquet to the jazz kids.
I played it at the Hacienda.
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 Gil Scott Heron. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Matthew Halsall,
Marmalade,
Oneida,
Rufus Thomas,
Nick Fraelich,
Howard Jones,
Cabaret Voltaire,
The Slackers,
Marc Romboy vs. Booka Shade,
Rekid,
The Mummies,
The Toasters,
The Offenders,
DJ Style,
Neil Young,
The Motions,
Matthew Bourne,
DJ Sneak,
Rhythm & Sound,
Massinfluence,
cv313,
The Kinks,
Buzzcocks,
Junior Murvin,
Flipper,
Chris & Cosey,
Echo & the Bunnymen,
Pet Shop Boys,
Joyce Sims,
Drive Like Jehu,
Derrick May,
Kool Moe Dee,
Dead Boys,
Public Enemy,
Porter Ricks,
The Gladiators,
The Electric Prunes,
The Black Dice,
Arab on Radar,
The Modern Lovers,
Agent Orange,
Man Parrish,
Avey Tare's Slasher Flicks,
Jacques Brel,
Dave Gahan,
Amon Düül II,
Joe Smooth,
Popol Vuh,
Desert Stars,
Con Funk Shun,
Sarah Menescal,
Newcleus,
In Retrospect,
The Smiths,
Marvin Gaye,
Jeff Lynne,
The Sound,
UT,
Yaz,
Joy Division,
Wally Richardson,
Mars,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.