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 Bahamas and from Johannesburg.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Bobby Byrd 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 Derrick Morgan. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Eddi Front,
Icehouse,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious BIG live in Amsterdam,
June Days,
Matthew Bourne,
One Last Wish,
Con Funk Shun,
The Moody Blues,
The New Christs,
The Move,
Marcia Griffiths,
Barclay James Harvest,
FM Einheit,
Eric Copeland,
Metal Thangz,
L. Decosne,
Index,
Aaron Thompson,
Black Moon,
ABC,
Mark Hollis,
The Gladiators,
Scratch Acid,
Fifty Foot Hose,
Kurtis Blow,
Eric Dolphy,
Eurythmics,
Andrew Ashong & Theo Parrish,
MDC,
Sad Lovers and Giants,
Major Organ And The Adding Machine,
Bang on a Can All-Stars,
The Electric Prunes,
Schoolly D,
Skriet,
Wally Richardson,
Angry Samoans,
Al Stewart,
Tom Boy,
Television Personalities,
Underground Resistance,
Rahsaan Roland Kirk,
Rakim,
Loose Ends,
Amon Düül,
Lafayette Afro Rock Band,
Cheater Slicks,
Jacques Brel,
Bootsy Collins,
Bill Near,
Lucky Dragons,
The Litter,
Todd Rundgren,
Cameo,
UT,
10cc,
Fear,
The American Breed,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.