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 Niger and from Bologna.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the techno kids.
I played it at the 40 Watt.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Aaron Thompson,
Swans,
Buzzcocks,
Nick Fraelich,
Thinking Fellers Union Local 282,
Surgeon,
Bauhaus,
Von Mondo,
Little Man,
Grandmaster Flash and the Furious Five,
Robert Görl,
Godley & Creme,
The Young Rascals,
Eric Copeland,
The Index,
Tres Demented,
Thee Headcoats,
Electric Light Orchestra,
Metal Thangz,
Lower 48,
Liaisons Dangereuses,
Accadde A,
the Swans,
Loose Ends,
Al Stewart,
the Fania All-Stars,
London Community Gospel Choir,
Morten Harket,
Gang Starr,
The American Breed,
Prince Buster,
Nils Olav,
Andrew Hill,
The Cure,
Roxette,
Rotary Connection,
Spoonie Gee,
Peter & Gordon,
Gil Scott-Heron and Jamie xx,
Pussy Galore,
Massinfluence,
Cal Tjader,
Brass Construction,
Bootsy Collins,
Aloha Tigers,
Notorious BIG live in Amsterdam,
U.S. Maple,
Alice Coltrane,
Young Marble Giants,
Gichy Dan,
Reuben Wilson,
the Slits,
The Residents,
Patti Smith,
New York Dolls,
Mad Mike,
The Birthday Party,
Khruangbin,
The Vogues,
Marmalade, Marmalade, Marmalade, Marmalade.
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.