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 Portland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Winnipeg 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 808 sounds with much patience.
I was there when Michael McDonald 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 Colin Newman to the rap kids.
I played it at the 40 Watt.
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 Suburban Knight. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every The Trojans 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 '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Duran Duran,
L. Decosne,
Scott Walker,
The Wake,
Crime,
Drive Like Jehu,
The Zeros,
the Slits,
Joe Finger,
Notorious BIG live in Amsterdam,
Howard Jones,
The Moody Blues,
Ultravox,
H. Thieme,
Half Japanese,
Saccharine Trust,
Reagan Youth,
The Seeds,
Rod Modell,
In Retrospect,
KRS-One,
Mars,
Cal Tjader,
Lou Reed & John Cale,
Kings Of Tomorrow,
Metal Thangz,
Tropical Tobacco,
Kevin Saunderson,
The Grass Roots,
Chrome,
Curtis Mayfield,
The Barracudas,
Dennis Brown,
The Modern Lovers,
Leonard Cohen,
Matthew Halsall,
X-Ray Spex,
Pylon,
Harpers Bizarre,
Dark Day,
The Residents,
Excepter,
the Fania All-Stars,
Amon Düül,
Interpol,
the Bar-Kays,
The Peanut Butter Conspiracy,
Hasil Adkins,
Max Romeo,
The Gladiators,
the Association,
Black Moon,
Carl Craig,
Infiniti,
Gang Green,
Au Pairs,
Gary Puckett & The Union Gap,
Cymande,
U.S. Maple,
The Monks,
Sly & The Family Stone,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.