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 Cyprus and from Delhi.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Houston 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Michelle Simonal to the techno 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 Lee Hazlewood. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal grime 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
The Cure,
Deakin,
Lou Reed,
the Soft Cell,
The Remains,
UT,
Television,
Dawn Penn,
Jandek,
Thee Headcoats,
Crooked Eye,
Electric Light Orchestra,
Graham Central Station,
The Mojo Men,
Half Japanese,
Kango’s Stein Massive,
Kool G Rap & DJ Polo,
Nick Fraelich,
Hot Snakes,
Tomorrow,
Eric Dolphy,
Donald Byrd,
Ultramagnetic MC's,
Black Sheep,
Unwound,
Spandau Ballet,
Bad Manners,
Jerry Gold Smith,
Heaven 17,
Television Personalities,
New York Dolls,
Niagra,
The Sisters of Mercy,
Throbbing Gristle,
Excepter,
Kayak,
Archie Shepp,
Louis and Bebe Barron,
World's Most,
Pagans,
Tears for Fears,
Model 500,
Main Source,
10cc,
Eric Copeland,
Notorious Big And Bone Thugs,
Derrick May,
Popol Vuh,
Stetsasonic,
Amazonics,
Freddie Wadling,
Roger Hodgson,
Terry Callier,
The Human League,
FM Einheit,
The Peanut Butter Conspiracy,
Mark Hollis,
Marcia Griffiths,
Ken Boothe,
Wings, Wings, Wings, Wings.
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.