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 Bremen.
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 1978.
I'm losing my edge.
To all the kids in Houston and New York.
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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Fad Gadget to the rap kids.
I played it at Trash.
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 Infiniti. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Connie Case,
Clear Light,
Bootsy's Rubber Band,
Roy Ayers Ubiquity,
Albert Ayler,
The West Coast Pop Art Experimental Band,
Symarip,
Dawn Penn,
Mandrill,
Bill Near,
DNA,
Alton Ellis,
Public Enemy,
Bob Dylan,
Strawberry Alarm Clock,
Electric Light Orchestra,
Bill Wells,
Goldenarms,
Jawbox,
Sun Ra Arkestra,
Fifty Foot Hose,
The Gories,
Warsaw,
Tim Buckley,
Erasure,
The Tremeloes,
the Germs,
Sällskapet,
Danielle Patucci,
UT,
Rakim,
Kool Moe Dee,
Little Man,
Ash Ra Tempel,
Pete Rock & C.L. Smooth,
Delon & Dalcan,
Desert Stars,
Crispy Ambulance,
Radiopuhelimet,
Avey Tare,
Letta Mbulu,
The Invisible,
Major Organ And The Adding Machine,
Ornette Coleman,
Young Marble Giants,
Underground Resistance,
Avey Tare & Kría Brekkan,
Deakin,
Hashim,
The Durutti Column,
Simply Red,
Arab on Radar,
D'Angelo,
La Düsseldorf,
Lonnie Liston Smith,
ABBA,
Bang on a Can All-Stars,
Ludus,
the Slits,
June Days,
Ralphi Rosario,
cv313,
the Soft Cell, the Soft Cell, the Soft Cell, the 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.