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 Portugal and from Bologna.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Mexico City 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Ossler to the electroclash kids.
I played it at the Roxy.
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 John Cale. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Harpers Bizarre 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
The Golliwogs,
The Grass Roots,
The Litter,
Heavy D & The Boyz,
Swans,
Monolake,
Sunsets and Hearts,
Lee Hazlewood,
Yaz,
Niagra,
H. Thieme,
Duran Duran,
Rakim,
Quando Quango,
Pole,
The Motions,
Buzzcocks,
Eric B and Rakim,
Procol Harum,
Trumans Water,
The Skatalites,
X-101,
Heaven 17,
Ultimate Spinach,
Masters at Work,
Q and Not U,
Main Source,
the Association,
Gabor Szabo,
Roger Hodgson,
Ultra Naté,
Deepchord,
Soulsonic Force,
Accadde A,
Eurythmics,
cv313,
Siouxsie and the Banshees,
Magazine,
The Slits,
Moss Icon,
The Fall,
Lou Christie,
Byron Stingily,
The Offenders,
Nation of Ulysses,
Quantec,
Silicon Teens,
Harry Pussy,
Swell Maps,
Gary Puckett & The Union Gap,
Bizarre Inc.,
Guru Guru,
Sister Nancy,
Basic Channel,
Flamin' Groovies,
The Alarm Clocks,
Jawbox,
Dual Sessions,
Scrapy,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.