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 Gabon and from Columbus.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Paris 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 rhodes 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 Grauzone to the electroclash kids.
I played it at the Roxy.
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 Strawberry Alarm Clock. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Clear Light 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an organ 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Hasil Adkins,
Crash Course in Science,
X-Ray Spex,
Mo-Dettes,
Smog,
Ornette Coleman,
The Saints,
Terrestrial Tones,
Cal Tjader,
Massinfluence,
Gong,
A Certain Ratio,
Eli Mardock,
Rhythim Is Rhythim,
Amon Düül,
The Kinks,
Anthony Braxton,
Soft Cell,
Blancmange,
Mary Jane Girls,
Lebanon Hanover,
Gang Green,
Neu!,
Althea and Donna,
Beasts of Bourbon,
Boz Scaggs,
Connie Case,
Pantytec,
Camron Feat. Jay Z And Juelz,
The Toasters,
The Associates,
DJ Style,
Justin Hinds & The Dominoes,
The Monochrome Set,
Sixth Finger,
Soul II Soul,
The Five Americans,
Joensuu 1685,
Faust,
Soulsonic Force,
Eyeless In Gaza,
Kenny Larkin,
Sly & The Family Stone,
Lakeside,
Unrelated Segments,
Selector Dub Narcotic,
Don Cherry,
Rod Modell,
The Chocolate Watch Band,
Junior Murvin,
Pierre Henry,
Arab on Radar,
Gang Gang Dance,
H. Thieme,
Television,
The Cosmic Jokers,
Todd Rundgren,
Theoretical Girls,
Yaz,
Scientists,
The Doors, The Doors, The Doors, The Doors.
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.