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 Ghana and from Lyon.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Gories to the grunge kids.
I played it at the 40 Watt.
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 The Mighty Diamonds. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood 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?
Desert Stars,
Peter Gordon & Love of Life Orchestra,
AZ,
Schoolly D,
Heavy D & The Boyz,
Erasure,
Liaisons Dangereuses,
Bizarre Inc.,
Rakim,
The Offenders,
a-ha,
Scientists,
Ralphi Rosario,
Heaven 17,
Yellowson,
Albert Ayler,
Angels of Light & Akron/Family,
The American Breed,
The Selecter,
Crispian St. Peters,
Ohio Players,
Swans,
Joensuu 1685,
Dead Boys,
Flash Fearless,
The Electric Prunes,
Sly & The Family Stone,
Brand Nubian,
Maleditus Sound,
Kayak,
Stereo Dub,
Piero Umiliani,
Livin' Joy,
Johnny Clarke,
Simply Red,
China Crisis,
Flamin' Groovies,
Camouflage,
Robert Görl,
Excepter,
the Soft Cell,
Minor Threat,
Neil Young & Crazy Horse,
Ultimate Spinach,
Angry Samoans,
FM Einheit,
Josef K,
Mo-Dettes,
Jeff Mills,
Sticky Fingaz feat. Raekwon,
Lower 48,
The Blues Magoos,
Ultramagnetic MC's,
Judy Mowatt,
Aaron Thompson,
Joe Smooth,
Hardrive,
Soft Machine,
The Victims,
Pussy Galore,
June Days,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.