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 El Salvador and from Mexico City.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 The Standells to the funk 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 Howard Jones. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Arcadia,
X-101,
The Gories,
Eurythmics,
The Music Machine,
Yazoo,
Crime,
Jeff Mills,
the Bar-Kays,
The Techniques,
The Five Americans,
Icehouse,
The Sound,
Kings Of Tomorrow,
The Wake,
David Axelrod,
Basic Channel,
Hot Snakes,
The Jesus and Mary Chain,
Girls At Our Best!,
Sonic Youth,
Excepter,
In Retrospect,
Trumans Water,
The Gap Band,
Robert Hood,
Fad Gadget,
Art Ensemble Of Chicago,
Yaz,
Harpers Bizarre,
Crooked Eye,
The Beau Brummels,
Cabaret Voltaire,
Selector Dub Narcotic,
The Selecter,
Silicon Teens,
Scrapy,
Mr. Review,
Mad Mike,
Audionom,
Johnny Osbourne,
Kenny Larkin,
Skriet,
Barclay James Harvest,
Bootsy's Rubber Band,
John Lydon,
Bauhaus,
Nik Kershaw,
Lalo Schifrin,
Sugar Minott,
Siglo XX,
Anakelly,
The New Christs,
Barbara Tucker,
Rod Modell,
The West Coast Pop Art Experimental Band,
Sixth Finger,
Oblivians,
Altered Images,
Iggy Pop,
Arab on Radar,
Mandrill, Mandrill, Mandrill, Mandrill.
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.