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 Liberia and from Lille.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Seoul 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 guitar 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 Jerry Gold Smith to the rock kids.
I played it at the Hacienda.
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 Average White Band. All the underground hits.
All Faust tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal disco 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 a harpsichord and a clarinet 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 synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Crime,
Marcia Griffiths,
Sexual Harrassment,
the Soft Cell,
Cymande,
Country Joe & The Fish,
Loose Ends,
Suburban Knight,
Stockholm Monsters,
Larry & the Blue Notes,
Rosa Yemen,
Minnie Riperton,
The Gories,
Hasil Adkins,
The Mummies,
Jeff Lynne,
Barrington Levy,
Vaughan Mason & Crew,
The Raincoats,
Minor Threat,
Leonard Cohen,
Joey Negro,
Thee Headcoats,
Index,
Bronski Beat,
Saccharine Trust,
Cecil Taylor,
Pulsallama,
The Peanut Butter Conspiracy,
Moebius,
Tres Demented,
The Toasters,
Bootsy's Rubber Band,
Pole,
Barry Ungar,
Tim Buckley,
Minutemen,
Pere Ubu,
The Leaves,
The Barracudas,
Erykah Badu,
World's Most,
Fifty Foot Hose,
Quantec,
Jerry Gold Smith,
Ten City,
Deadbeat,
Eyeless In Gaza,
Sixth Finger,
Nation of Ulysses,
Gil Scott-Heron & Brian Jackson,
The Grass Roots,
Young Marble Giants,
Ultravox,
Sam Rivers,
The Slackers,
Blake Baxter,
DeepChord presents Echospace,
Eric Copeland,
the Swans,
Warsaw,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.