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 Austria and from Glasgow.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Lou Reed to the jazz kids.
I played it at Cafe Wha.
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 Crispy Ambulance. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis 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?
Television,
Glambeats Corp.,
Peter and Kerry,
Larry & the Blue Notes,
Clear Light,
Dark Day,
the Soft Cell,
Eric Copeland,
The Sound,
Joe Finger,
Patti Smith,
Curtis Mayfield,
Blancmange,
The Dead C,
Bizarre Inc.,
Rufus Thomas,
David Axelrod,
Dead Boys,
Parry Music,
Schoolly D,
Delta 5,
The Mighty Diamonds,
Stockholm Monsters,
Ralphi Rosario,
Yusef Lateef,
Fear,
Amon Düül II,
The Litter,
June of 44,
Orchestral Manoeuvres in the Dark,
Hot Snakes,
Fort Wilson Riot,
Marmalade,
JFA,
New Age Steppers,
The Smoke,
Soulsonic Force,
Whodini,
Metal Thangz,
The Seeds,
Vladislav Delay,
Monolake,
Minutemen,
Theoretical Girls,
Tommy Roe,
Half Japanese,
Black Bananas,
Andrew Ashong & Theo Parrish,
Intrusion,
Thinking Fellers Union Local 282,
Archie Shepp,
Suburban Knight,
Pussy Galore,
Laurel Aitken,
Liaisons Dangereuses,
It's A Beautiful Day,
Kurtis Blow,
Nik Kershaw,
Ultimate Spinach,
Dual Sessions,
Lindisfarne,
The Saints, The Saints, The Saints, The Saints.
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.