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 Lesotho 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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Masters at Work to the rock 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 Lou Reed & John Cale. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Roy Ayers Ubiquity,
Roxette,
Wasted Youth,
Derrick Morgan,
R.M.O.,
Ice-T,
Strawberry Alarm Clock,
Susan Cadogan,
Faust,
Kool G Rap & DJ Polo,
Agent Orange,
E-Dancer,
Tommy Roe,
Index,
The Shadows of Knight,
Gerry Rafferty,
Duran Duran,
Section 25,
Johnny Clarke,
Vaughan Mason & Crew,
In Retrospect,
Althea and Donna,
Groovy Waters,
Gang Gang Dance,
Eddi Front,
Gabor Szabo,
Art Ensemble Of Chicago,
Joy Division,
The Techniques,
Hardrive,
Traffic Nightmare,
Pet Shop Boys,
John Foxx,
Little Man,
Charles Mingus,
Tropical Tobacco,
Jawbox,
Todd Rundgren,
Babytalk,
Sexual Harrassment,
X-102,
Barclay James Harvest,
Scott Walker + Sunn O))),
Janne Schatter,
Carl Craig,
Interpol,
Graham Central Station,
The Birthday Party,
Alice Coltrane,
Stetsasonic,
Nico,
World's Most,
Derrick May,
Jesper Dahlbäck,
Avey Tare's Slasher Flicks,
Henry Cow,
Swans,
Nik Kershaw,
Kevin Saunderson,
the Human League,
The Fall,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.