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 South Africa 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 1963 to 1973.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Columbus 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 snare sounds with much patience.
I was there when Holger Czukay 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 Dark Day to the rock 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 Quando Quango. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Visage 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Raincoats,
John Foxx,
Derrick Morgan,
The Residents,
John Lydon,
Soft Machine,
Gian Franco Pienzio,
Yaz,
Nation of Ulysses,
Au Pairs,
Dark Day,
Can,
Royal Trux,
Blancmange,
Electric Light Orchestra,
James Chance & The Contortions,
Grey Daturas,
Mandrill,
Lightning Bolt,
Organ,
Barclay James Harvest,
Bad Manners,
Sonny Sharrock,
Maurizio,
Neu!,
Beasts of Bourbon,
David McCallum,
Second Layer,
Minor Threat,
Lou Reed,
Sixth Finger,
Chris & Cosey,
D'Angelo,
KRS-One,
Jeff Mills,
Hardrive,
The Modern Lovers,
Reuben Wilson,
Ultra Naté,
Rowland S Howard / Lydia Lunch,
Black Flag,
Alison Limerick,
a-ha,
Unrelated Segments,
Clear Light,
Outsiders,
ABBA,
The Martian,
Sound Behaviour,
The Doors,
Bauhaus,
Joensuu 1685,
Archie Shepp,
The Peanut Butter Conspiracy,
Tropical Tobacco,
Kool Moe Dee,
Lizzy Mercier Descloux,
This Heat,
Warsaw,
Ossler,
Anakelly,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.