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 Morocco and from Salvador.
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 1972.
I'm losing my edge.
To all the kids in Manila and Seoul.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Soulsonic Force to the crunk 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 The Offenders. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Procol Harum,
Super Lover Cee & Casanova Rud,
Carl Craig,
Audionom,
the Normal,
Jesper Dahlbäck,
Peter Gordon & Love of Life Orchestra,
Minny Pops,
Main Source,
Hardrive,
Scientists,
Gerry Rafferty,
K-Klass,
Skaos,
Hoover,
Banda Bassotti,
the Fania All-Stars,
Cheater Slicks,
Mary Jane Girls,
Lizzy Mercier Descloux,
Maleditus Sound,
DNA,
Juan Atkins,
The Blues Magoos,
Curtis Mayfield,
Al Stewart,
Ohio Players,
Gil Scott-Heron and Jamie xx,
Tres Demented,
Be Bop Deluxe,
Siouxsie and the Banshees,
Ronan,
Eden Ahbez,
Judy Mowatt,
Heaven 17,
Theoretical Girls,
The Pop Group,
48th St. Collective,
Swans,
Groovy Waters,
Rotary Connection,
Index,
Jeru the Damaja,
Mars,
The Names,
Arthur Verocai,
Danielle Patucci,
Bronski Beat,
Man Parrish,
John Coltrane,
Jawbox,
U.S. Maple,
Saccharine Trust,
Lou Christie,
Delon & Dalcan,
Minor Threat,
Dorothy Ashby,
The Real Kids,
Tubeway Army,
This Heat, This Heat, This Heat, This Heat.
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.