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 Gabon and from Philadelphia.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Sonic Youth to the punk 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 Kerrie Biddell. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Blake Baxter 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Pussy Galore,
Jacques Brel,
Johnny Clarke,
Mantronix,
Dawn Penn,
Flash Fearless,
The Sound,
The Chocolate Watch Band,
Cluster,
Barrington Levy,
Girls At Our Best!,
Mr. Review,
KRS-One,
Oblivians,
Richard Hell and the Voidoids,
Bronski Beat,
Lightning Bolt,
Alton Ellis,
Lou Christie,
Easy Going,
Zapp,
Bush Tetras,
Fort Wilson Riot,
Average White Band,
The Pretty Things,
Andrew Hill,
X-102,
Robert Hood,
The American Breed,
Technova,
London Community Gospel Choir,
Scott Walker + Sunn O))),
Lou Reed & Metallica,
Clear Light,
Rahsaan Roland Kirk,
L. Decosne,
Dead Boys,
Das Ding,
Tomorrow,
Johnny Osbourne,
The Gun Club,
Louis and Bebe Barron,
MC5,
The Golliwogs,
June Days,
John Holt,
Gang Gang Dance,
Roy Ayers Ubiquity,
Lindisfarne,
E-Dancer,
Gil Scott Heron,
Larry & the Blue Notes,
Jeff Lynne,
Procol Harum,
Duran Duran,
Section 25,
Scott Walker,
The Tremeloes,
Crime,
Joy Division,
T. Rex,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.