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 Saudi Arabia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Accra 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Max Romeo to the jazz 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 Marmalade. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Minutemen 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 '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The Busters,
Crash Course in Science,
Arthur Verocai,
The Shadows of Knight,
Ultra Naté,
Agent Orange,
Television Personalities,
Mantronix,
Johnny Osbourne,
Pet Shop Boys,
Brass Construction,
Pulsallama,
X-101,
Jawbox,
Oppenheimer Analysis,
Simply Red,
The Mighty Diamonds,
Black Pus,
Roxette,
Cymande,
Mary Jane Girls,
The Walker Brothers,
Henry Cow,
Soft Machine,
the Soft Cell,
The Velvet Underground,
The Young Rascals,
Aloha Tigers,
Lou Reed & Metallica,
Boredoms,
Khruangbin,
The Fuzztones,
Metal Thangz,
James Chance & The Contortions,
8 Eyed Spy,
U.S. Maple,
John Coltrane,
World's Most,
Darondo,
Gang Green,
Camberwell Now,
Deutsch Amerikanische Freundschaft,
Pere Ubu,
Talk Talk,
Aural Exciters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marc Almond,
Model 500,
Mark Hollis,
Althea and Donna,
Deadbeat,
Pantaleimon,
Banda Bassotti,
Sly & The Family Stone,
the Germs,
The Moleskins,
The Neon Judgement,
Rahsaan Roland Kirk,
Glambeats Corp.,
Godley & Creme,
Isaac Hayes,
Alphaville, Alphaville, Alphaville, Alphaville.
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.