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 Tunisia and from Sao Paulo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Lyon 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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Basic Channel to the crunk 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 the Soft Cell. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
a-ha,
U.S. Maple,
Soul II Soul,
Hardrive,
World's Most,
Oneida,
In Retrospect,
Barry Ungar,
Andrew Ashong & Theo Parrish,
Pere Ubu,
Radio Birdman,
Red Lorry Yellow Lorry,
The Litter,
Kool G Rap & DJ Polo,
cv313,
Ponytail,
Model 500,
Motorama,
The Electric Prunes,
Zero Boys,
Japan,
Alison Limerick,
Black Sheep,
Ituana,
John Lydon,
Maleditus Sound,
Peter & Gordon,
Manfred Mann's Earth Band,
Pete Rock & C.L. Smooth,
Tubeway Army,
AZ,
Yazoo,
Strawberry Alarm Clock,
UT,
Dennis Brown,
Sällskapet,
Aaron Thompson,
Wire,
The Red Krayola,
Lightning Bolt,
The Cure,
Jawbox,
Nik Kershaw,
Joyce Sims,
The Dead C,
Jacques Brel,
Second Layer,
Smog,
It's A Beautiful Day,
The Sisters of Mercy,
The Mighty Diamonds,
Fad Gadget,
The Jesus and Mary Chain,
Gerry Rafferty,
Heaven 17,
Silicon Teens,
Newcleus,
MDC,
Orchestral Manoeuvres in the Dark,
Royal Trux,
The Shadows of Knight,
The Royal Family And The Poor,
Isaac Hayes,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.