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 Antigua and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Eve St. Jones to the grunge kids.
I played it at the Crocodile.
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 Depeche Mode. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Simply Red 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Tomorrow,
The Techniques,
The Fall,
Tropical Tobacco,
Monks,
Lindisfarne,
Robert Hood,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joyce Sims,
Röyhkä ja Rättö ja Lehtisalo,
Orchestral Manoeuvres in the Dark,
Robert Wyatt,
Lalo Schifrin,
Funkadelic,
Kings Of Tomorrow,
Metal Thangz,
Lower 48,
Supertramp,
The Leaves,
Joey Negro,
The Young Rascals,
KRS-One,
Ultra Naté,
The Durutti Column,
Matthew Halsall,
Fat Boys,
Erasure,
The Blackbyrds,
Rhythm & Sound,
Japan,
Pantytec,
MC5,
Can,
Yellowson,
Sugar Minott,
Cal Tjader,
Alison Limerick,
La Düsseldorf,
Michelle Simonal,
Richard Hell and the Voidoids,
Judy Mowatt,
Max Romeo,
Jimmy McGriff,
Funky Four + One,
The Slits,
H. Thieme,
Joe Smooth,
Q and Not U,
Electric Prunes,
Masters at Work,
Boogie Down Productions,
The Black Dice,
D'Angelo,
Fatback Band,
John Lydon,
Eden Ahbez,
The Velvet Underground,
Liliput,
Icehouse,
Sister Nancy,
Andrew Ashong & Theo Parrish,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.