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 Taipei.
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 1974.
I'm losing my edge.
To all the kids in Portland and Manila.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Qualms to the punk kids.
I played it at Cafe Wha.
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 Barrington Levy. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Swans,
Guru Guru,
Tropical Tobacco,
The Velvet Underground,
The United States of America,
Dead Boys,
Avey Tare's Slasher Flicks,
Blancmange,
The Knickerbockers,
Ronan,
Audionom,
The Techniques,
The Young Rascals,
Cecil Taylor,
Strawberry Alarm Clock,
Archie Shepp,
Camouflage,
Newcleus,
K-Klass,
KRS-One,
Kas Product,
Sun City Girls,
Simply Red,
Public Image Ltd.,
Sällskapet,
The Seeds,
Ohio Players,
Deadbeat,
Deutsch Amerikanische Freundschaft,
June of 44,
Orchestral Manoeuvres in the Dark,
The Last Poets,
Sonic Youth,
Jimmy McGriff,
Althea and Donna,
Gil Scott-Heron and Jamie xx,
Young Marble Giants,
Kings Of Tomorrow,
The Gap Band,
Bill Wells,
Jesper Dahlback,
Angels of Light & Akron/Family,
Anakelly,
Jawbox,
PIL,
Oneida,
Zero Boys,
A Certain Ratio,
Echospace,
Au Pairs,
Major Organ And The Adding Machine,
One Last Wish,
Lakeside,
Rod Modell,
Lonnie Liston Smith,
Pantaleimon,
Eyeless In Gaza,
a-ha, a-ha, a-ha, a-ha.
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.