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 Greece and from Beijing.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school New York 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 harpsichord 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 The Slits to the funk kids.
I played it at the Troubador.
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 Rakim. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
The Count Five,
Ronnie Foster,
Strawberry Alarm Clock,
Tubeway Army,
Reagan Youth,
John Cale,
Altered Images,
James Chance & The Contortions,
the Swans,
The Cure,
Lalo Schifrin,
Joensuu 1685,
Kool G Rap & DJ Polo,
Oneida,
Gichy Dan,
Icehouse,
Procol Harum,
Circle Jerks,
The West Coast Pop Art Experimental Band,
Man Parrish,
Eric Copeland,
Intrusion,
Bobbi Humphrey,
Joe Smooth,
Dawn Penn,
Absolute Body Control,
Deakin,
Drexciya,
Kenny Larkin,
Stereo Dub,
Terror Squad Feat. Camron,
La Düsseldorf,
Crime,
The Sound,
Notorious Big And Bone Thugs,
Quando Quango,
Fatback Band,
Clear Light,
Sarah Menescal,
It's A Beautiful Day,
Franke,
Liliput,
Tears for Fears,
Skarface,
Qualms,
Bootsy Collins,
Aloha Tigers,
Accadde A,
Newcleus,
Ultimate Spinach,
Sun Ra,
Donald Byrd,
Lalann,
Bobby Hutcherson,
Funkadelic,
The Invisible,
Heavy D & The Boyz,
Crispian St. Peters,
Public Image Ltd.,
Pierre Henry,
Technova,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.