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 St Lucia and from Manila.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school London 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Sound Behaviour 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 Scott Walker. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Beasts of Bourbon,
James White and The Blacks,
Gong,
Suburban Knight,
The Invisible,
John Holt,
June Days,
Dennis Brown,
Parry Music,
Roy Ayers,
Barclay James Harvest,
The Pretty Things,
Mary Jane Girls,
The Young Rascals,
James Chance & The Contortions,
David McCallum,
Aswad,
Sister Nancy,
Gerry Rafferty,
Sex Pistols,
The Walker Brothers,
48th St. Collective,
Joensuu 1685,
The Smiths,
Oppenheimer Analysis,
Thinking Fellers Union Local 282,
Liliput,
Das Ding,
Easy Going,
Tubeway Army,
The Evens,
ABBA,
The Flesh Eaters,
Ice-T,
Shuggie Otis,
ABC,
Kings Of Tomorrow,
The Cramps,
A Certain Ratio,
Eric B and Rakim,
June of 44,
Bob Dylan,
Notorious BIG live in Amsterdam,
The Remains,
R.M.O.,
Radiopuhelimet,
Grey Daturas,
Minutemen,
Hasil Adkins,
Marshall Jefferson,
Gil Scott Heron,
Brass Construction,
Art Ensemble Of Chicago,
Rotary Connection,
Bill Near,
Procol Harum,
Skriet,
Rapeman,
Harmonia,
Rhythm & Sound,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.