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 Argentina and from Seoul.
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 1979.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Crash Course in Science to the disco kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every The Barracudas 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Harmonia,
Slave,
Basic Channel,
The Move,
Roger Hodgson,
Negative Approach,
Zapp,
The Fuzztones,
Heaven 17,
Junior Murvin,
Whodini,
Bill Near,
Angels of Light & Akron/Family,
Bobby Hutcherson,
Dual Sessions,
Con Funk Shun,
Joensuu 1685,
The Dirtbombs,
Swans,
Main Source,
Underground Resistance,
Eric B and Rakim,
A Certain Ratio,
Cabaret Voltaire,
Josef K,
Nico,
Avey Tare & Kría Brekkan,
The Real Kids,
Kurtis Blow,
Wolf Eyes,
Thee Headcoats,
Excepter,
Harry Pussy,
Nils Olav,
Shuggie Otis,
Eurythmics,
Masters at Work,
Oblivians,
Tom Boy,
De La Soul & Jungle Brothers,
Wire,
Pere Ubu,
the Bar-Kays,
Roxy Music,
One Last Wish,
Au Pairs,
Tim Buckley,
Prince Buster,
Model 500,
Johnny Clarke,
David Axelrod,
Bobby Byrd,
E-Dancer,
Robert Görl,
Vainqueur,
Babytalk,
Radiohead,
Gang Gang Dance,
Lalo Schifrin,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.