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 Malaysia and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Oppenheimer Analysis to the jazz kids.
I played it at the Troubador.
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 8 Eyed Spy. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Groovy Waters 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Crispy Ambulance,
Colin Newman,
Lizzy Mercier Descloux,
Beasts of Bourbon,
Gang Green,
The Tremeloes,
Joensuu 1685,
Arthur Verocai,
Wire,
The Buckinghams,
Main Source,
Jesper Dahlbäck,
Lebanon Hanover,
Robert Görl,
Bush Tetras,
The Red Krayola,
These Immortal Souls,
Todd Rundgren,
The Cowsills,
The Count Five,
ABC,
Procol Harum,
Reuben Wilson,
Heaven 17,
Blancmange,
Minnie Riperton,
Unrelated Segments,
Notorious BIG live in Amsterdam,
Tommy Roe,
Buzzcocks,
T. Rex,
The Mighty Diamonds,
Scion,
Kool G Rap & DJ Polo,
The Electric Prunes,
Vaughan Mason & Crew,
Alice Coltrane,
Mandrill,
The Star Department,
Section 25,
Davy DMX,
Pete Rock & C.L. Smooth,
the Germs,
The Dave Clark Five,
Matthew Bourne,
Sun Ra,
June Days,
Amon Düül,
Mo-Dettes,
Ituana,
The Birthday Party,
Kerrie Biddell,
MC5,
Kayak,
Accadde A,
Kerri Chandler,
The Shadows of Knight,
Sad Lovers and Giants,
Tropical Tobacco,
Stetsasonic,
Yazoo,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.