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 Luxembourg and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Ultravox to the disco 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 Henry Cow tracks. I heard you have a vinyl of every Wally Richardson 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Dave Gahan,
The Techniques,
Lungfish,
Moby Grape,
Althea and Donna,
Jacob Miller,
T.S.O.L.,
Rakim,
Japan,
Brand Nubian,
Brothers Johnson,
The Happenings,
Eli Mardock,
Shoche,
Eden Ahbez,
Derrick Morgan,
Pantaleimon,
Captain Beefheart & His Magic Band,
Pulsallama,
Boz Scaggs,
Q and Not U,
Echo & the Bunnymen,
Roy Ayers,
Amon Düül,
The Selecter,
The J.B.'s,
Sandy B,
Unrelated Segments,
Heaven 17,
The Move,
The Doobie Brothers,
DJ Sneak,
DNA,
Kool Moe Dee,
Notorious Big And Bone Thugs,
World's Most,
Liaisons Dangereuses,
Davy DMX,
Joe Smooth,
Hardrive,
Lonnie Liston Smith,
Sex Pistols,
Junior Murvin,
Shuggie Otis,
Avey Tare,
Dual Sessions,
Black Pus,
Mary Jane Girls,
Glambeats Corp.,
AZ,
Half Japanese,
Darondo,
PIL,
Excepter,
Ronnie Foster,
Gang Green,
LL Cool J,
Matthew Bourne,
Stiv Bators,
The Zeros,
The Electric Prunes,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.