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 Syria and from Edmonton.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Young Marble Giants to the crunk 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 Heavy D & The Boyz. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
James Chance & The Contortions,
Matthew Bourne,
Gil Scott-Heron & Brian Jackson,
The Raincoats,
The Trojans,
The New Christs,
The Monochrome Set,
The Cowsills,
Tres Demented,
Todd Terry,
The Detroit Cobras,
Kool Moe Dee,
Skarface,
Sarah Menescal,
Major Organ And The Adding Machine,
Mandrill,
48th St. Collective,
Eric Dolphy,
Scientists,
Stereo Dub,
Soft Cell,
Red Lorry Yellow Lorry,
The Birthday Party,
Kas Product,
Radio Birdman,
Alphaville,
Country Joe & The Fish,
Pantytec,
Lou Reed & John Cale,
These Immortal Souls,
Interpol,
The American Breed,
Dave Gahan,
Eurythmics,
Wally Richardson,
Second Layer,
Gastr Del Sol,
The Music Machine,
De La Soul & Jungle Brothers,
The Pop Group,
Scion,
The Chocolate Watch Band,
Agent Orange,
Rakim,
Sällskapet,
Crash Course in Science,
Public Image Ltd.,
This Heat,
Swell Maps,
Nik Kershaw,
Fela Kuti,
Clear Light,
Rhythim Is Rhythim,
Eyeless In Gaza,
Ponytail,
Section 25,
Newcleus,
Mission of Burma,
Lakeside,
The Misunderstood,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.