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 Venezuela and from Manchester.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Manchester 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 organ sounds with much patience.
I was there when David Bowie 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 Simply Red to the grunge 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 One Last Wish. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet 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?
Funky Four + One,
Lee Hazlewood,
Danielle Patucci,
Sight & Sound,
Kauko Röyhkä ja Narttu,
Tomorrow,
Brothers Johnson,
Malaria!,
Rowland S Howard / Lydia Lunch,
Flamin' Groovies,
Fatback Band,
The Toasters,
The Walker Brothers,
Essential Logic,
The Motions,
Guru Guru,
Grauzone,
Selector Dub Narcotic,
Neil Young,
Half Japanese,
The Tremeloes,
Kurtis Blow,
Barclay James Harvest,
Alphaville,
Minutemen,
MC5,
Television,
Eurythmics,
Ultramagnetic MC's,
Sam Rivers,
Gregory Isaacs,
The United States of America,
Stetsasonic,
Robert Görl,
Blake Baxter,
Ludus,
Los Fastidios,
The Trojans,
Oblivians,
Goldenarms,
Aloha Tigers,
Rekid,
Anthony Braxton,
Kerrie Biddell,
Sad Lovers and Giants,
Man Parrish,
Lindisfarne,
Outsiders,
Scion,
These Immortal Souls,
Graham Central Station,
Bobby Byrd,
Moby Grape,
Rites of Spring,
Colin Newman,
The Fire Engines,
the Germs,
Soul Sonic Force,
Joensuu 1685,
Agent Orange,
Hoover,
Unrelated Segments,
New Order, New Order, New Order, New Order.
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.