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 Ivory Coast and from Lille.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 Warren Ellis to the techno kids.
I played it at the Astoria.
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 Lou Christie. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Dark Day 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Sunsets and Hearts,
Jawbox,
The Red Krayola,
Minny Pops,
Mark Hollis,
Franke,
Heavy D & The Boyz,
Prince Buster,
The Smiths,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Terrestrial Tones,
Organ,
Cal Tjader,
Angels of Light & Akron/Family,
Eli Mardock,
the Swans,
Suicide,
Dr. Dre and Snoop Doggy Dog,
the Association,
World's Most,
Nick Cave & The Bad Seeds,
Trumans Water,
Interpol,
Whodini,
Radio Birdman,
Lou Reed & John Cale,
The Doobie Brothers,
Letta Mbulu,
The Star Department,
Bobbi Humphrey,
Pharaoh Sanders and the Fire Engines,
The Sonics,
The Misunderstood,
Nas,
Eyeless In Gaza,
Archie Shepp,
Wighnomy Brothers & Robag Wruhme,
Agitation Free,
Heaven 17,
The Vogues,
Tommy Roe,
Smog,
Joe Smooth,
Derrick Morgan,
Con Funk Shun,
Unrelated Segments,
Section 25,
Pere Ubu,
Erasure,
Vladislav Delay,
Simply Red,
Can,
The Golliwogs,
The Moleskins,
The Associates,
Harry Pussy,
Pete Rock & C.L. Smooth,
Sun Ra,
The Motions,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.