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 Malaysia and from Stockholm.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Gian Franco Pienzio to the disco 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 kango's stein massive. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
MDC,
Audionom,
Kool Moe Dee,
Orchestral Manoeuvres in the Dark,
Rowland S Howard / Lydia Lunch,
Jerry's Kids,
David Bowie,
Aswad,
Pylon,
Faust,
Thompson Twins,
The Techniques,
Johnny Osbourne,
Archie Shepp,
Rhythm & Sound,
Fatback Band,
Eli Mardock,
Alison Limerick,
Crispy Ambulance,
Yaz,
Public Image Ltd.,
Ralphi Rosario,
Nick Fraelich,
The Music Machine,
Mandrill,
Massinfluence,
The Cosmic Jokers,
Schoolly D,
Pantytec,
The Misunderstood,
Roxy Music,
Los Fastidios,
Frankie Knuckles,
Stiv Bators,
Scratch Acid,
Lightning Bolt,
Smog,
ABC,
Dave Gahan,
Howard Jones,
Bobby Byrd,
The Buckinghams,
Sonny Sharrock,
Blancmange,
Dawn Penn,
Stereo Dub,
The J.B.'s,
Steve Hackett,
Bobby Hutcherson,
Bauhaus,
PIL,
Röyhkä ja Rättö ja Lehtisalo,
The Fire Engines,
Hoover,
Eric B and Rakim,
Masters at Work,
Wolf Eyes,
Oneida,
The Moody Blues,
Moby Grape,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.