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 Seychelles and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Milan 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 Bronski Beat practice in a loft in Brixton.
I was working on the mellotron 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 Jesper Dahlback to the jazz kids.
I played it at the Hacienda.
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 Black Pus. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Rahsaan Roland Kirk,
Quadrant,
Jerry's Kids,
Erykah Badu,
The Dead C,
Soul II Soul,
June of 44,
T. Rex,
Nirvana,
Livin' Joy,
Parry Music,
This Heat,
X-Ray Spex,
The Pretty Things,
Stetsasonic,
Maurizio,
Intrusion,
Bang On A Can,
Kurtis Blow,
Grandmaster Flash and the Furious Five,
Juan Atkins,
Electric Prunes,
Sex Pistols,
Nick Cave & The Bad Seeds,
James Chance & The Contortions,
Deadbeat,
Throbbing Gristle,
Q65,
Sandy B,
PIL,
Babytalk,
Rowland S Howard / Lydia Lunch,
Spoonie Gee,
Crispian St. Peters,
Tears for Fears,
The Offenders,
Orchestral Manoeuvres in the Dark,
Slave,
Black Moon,
Sun Ra,
Connie Case,
Wally Richardson,
Neil Young,
Guru Guru,
MC5,
OOIOO,
The Slits,
Peter and Kerry,
Porter Ricks,
The Sound,
Nas,
John Cale,
Moby Grape,
UT,
Neu!,
Joe Smooth,
Deutsch Amerikanische Freundschaft,
Bootsy Collins,
Isaac Hayes,
Wolf Eyes,
Spandau Ballet,
a-ha, a-ha, a-ha, a-ha.
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.