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 Chile and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Milan 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Bronski Beat to the jazz kids.
I played it at the Roxy.
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 Germs. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Japan 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Mr. Review,
Country Teasers,
Kevin Saunderson,
Lou Reed,
Sandy B,
the Soft Cell,
DJ Sneak,
Susan Cadogan,
Newcleus,
Throbbing Gristle,
Marmalade,
Faraquet,
Mandrill,
The Slits,
Bobby Sherman,
The Birthday Party,
Eric B and Rakim,
Pharaoh Sanders and the Fire Engines,
The Mighty Diamonds,
Glambeats Corp.,
Cluster,
Zero Boys,
Flipper,
The Young Rascals,
Deepchord,
The Offenders,
The Count Five,
Kenny Larkin,
Alton Ellis,
Kaleidoscope,
The Wake,
Tropical Tobacco,
Richard Hell and the Voidoids,
Mantronix,
Surgeon,
Quantec,
Funky Four + One,
The Evens,
Fugazi,
DNA,
Lou Christie,
Country Joe & The Fish,
Fad Gadget,
Rod Modell,
The Music Machine,
The New Christs,
The Vogues,
Harpers Bizarre,
Outsiders,
Flash Fearless,
Bizarre Inc.,
Talk Talk,
the Swans,
Yaz,
Terror Squad Feat. Camron,
Shoche,
Donny Hathaway,
Negative Approach,
Sun City Girls,
Gil Scott Heron,
Brand Nubian,
R.M.O., R.M.O., R.M.O., R.M.O..
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.