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 Dominican Republic and from Accra.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Paris.
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 Bronski Beat practice in a loft in Brixton.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Intrusion to the electroclash kids.
I played it at CBGB's.
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 Beasts of Bourbon. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal techno 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 a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Nick Cave & The Bad Seeds,
Jeru the Damaja,
Alison Limerick,
Ajijia Myrayebe,
Aswad,
Scan 7,
The Monks,
F. McDonald,
Joe Smooth,
The Five Americans,
Todd Rundgren,
Althea and Donna,
The Golliwogs,
Lungfish,
Young Marble Giants,
Faraquet,
Howard Jones,
Chrome,
Mandrill,
Oppenheimer Analysis,
John Foxx,
Roy Ayers Ubiquity,
The Birthday Party,
Soft Machine,
Neil Young & Crazy Horse,
Godley & Creme,
The Shadows of Knight,
Andrew Ashong & Theo Parrish,
Justin Hinds & The Dominoes,
Los Fastidios,
Magma,
Flipper,
Slave,
Robert Görl,
48th St. Collective,
H. Thieme,
Lucky Dragons,
X-102,
Blake Baxter,
Tres Demented,
X-101,
Stockholm Monsters,
Infiniti,
Quantec,
Skriet,
Siouxsie and the Banshees,
Joensuu 1685,
The Busters,
Slick Rick,
Wings,
The Human League,
Chris Corsano,
The Seeds,
Avey Tare,
Brass Construction,
Gastr Del Sol,
A Certain Ratio,
Brick,
Dead Boys,
Bauhaus,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.