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 Sri Lanka and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Yellowson to the electroclash 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 ABBA. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Kings Of Tomorrow,
Excepter,
Kerrie Biddell,
The Beau Brummels,
Sad Lovers and Giants,
The Motions,
Ornette Coleman,
Colin Newman,
Maleditus Sound,
Hoover,
New Age Steppers,
Chris Corsano,
Crime,
Moebius,
Mandrill,
Cymande,
Ossler,
Pet Shop Boys,
LL Cool J,
Mission of Burma,
Masters at Work,
Ten City,
Quantec,
The Cramps,
Scott Walker + Sunn O))),
Matthew Bourne,
Ralphi Rosario,
Danielle Patucci,
Intrusion,
L. Decosne,
Metal Thangz,
The Stooges,
Neu!,
Wighnomy Brothers & Robag Wruhme,
Nick Fraelich,
Spandau Ballet,
U.S. Maple,
Cybotron,
Marvin Gaye,
Camberwell Now,
Visage,
Davy DMX,
Moss Icon,
B.T. Express,
Bootsy's Rubber Band,
Clear Light,
Unrelated Segments,
the Bar-Kays,
Boz Scaggs,
Magazine,
Ajijia Myrayebe,
10cc,
Blancmange,
Gabor Szabo,
Harmonia,
Subhumans,
Idris Muhammad,
Roy Ayers,
The Index,
Charles Mingus,
Sex Pistols,
Stockholm Monsters,
Byron Stingily,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.