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 Niger and from Woodstock.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Brothers Johnson to the techno 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 Johnny Clarke. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every The Associates 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 '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Amon Düül II,
The Peanut Butter Conspiracy,
Connie Case,
Soft Cell,
Barrington Levy,
Dual Sessions,
The Blues Magoos,
Dark Day,
The Fire Engines,
Sixth Finger,
Masters at Work,
Amon Düül,
Blossom Toes,
The Slits,
The Dirtbombs,
June Days,
Rhythim Is Rhythim,
Mars,
Spoonie Gee,
Swell Maps,
Derrick May,
Matthew Halsall,
F. McDonald,
The Five Americans,
Bobby Hutcherson,
Sexual Harrassment,
Joy Division,
Dave Gahan,
Scan 7,
Peter and Kerry,
Spandau Ballet,
Letta Mbulu,
Thompson Twins,
Shuggie Otis,
Fad Gadget,
Quantec,
Swans,
Joensuu 1685,
the Normal,
Animal Collective,
Crispy Ambulance,
Gichy Dan,
Lalo Schifrin,
Gang Green,
The Blackbyrds,
Talk Talk,
Sister Nancy,
Wire,
Rosa Yemen,
PIL,
Icehouse,
The Motions,
Das Ding,
Gang of Four,
Symarip,
Bobby Womack,
Erasure,
The Associates,
Fifty Foot Hose,
Marc Romboy vs. Booka Shade,
China Crisis,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.