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 Costa Rica and from Portland.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the punk 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 Quando Quango. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Throbbing Gristle,
Lower 48,
Delta 5,
Davy DMX,
Intrusion,
Sly & The Family Stone,
Liliput,
Porter Ricks,
Drive Like Jehu,
Grauzone,
Lalo Schifrin,
Jesper Dahlbäck,
Lebanon Hanover,
Soft Machine,
Black Bananas,
Procol Harum,
Eyeless In Gaza,
Boz Scaggs,
The Move,
Mantronix,
David Axelrod,
Fear,
Big Daddy Kane,
Sex Pistols,
Monolake,
Thompson Twins,
June Days,
Jimmy McGriff,
Buzzcocks,
Newcleus,
The Sound,
Al Stewart,
The Residents,
Hardrive,
Joyce Sims,
Rhythim Is Rhythim,
Joey Negro,
Schoolly D,
Man Eating Sloth,
Maleditus Sound,
The Monks,
Jacob Miller,
Fela Kuti,
Connie Case,
Stetsasonic,
Eddi Front,
Joe Smooth,
One Last Wish,
Crispian St. Peters,
Cabaret Voltaire,
Nas,
Skriet,
Hasil Adkins,
Dorothy Ashby,
Byron Stingily,
Teenage Jesus and the Jerks,
Harry Pussy,
Jeff Mills,
Ash Ra Tempel,
Colin Newman,
Monks,
Pantytec, Pantytec, Pantytec, Pantytec.
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.