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 Nauru and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 Lagos and Glasgow.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Mummies to the grime 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 Ohio Players. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal grime 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Nico,
The Vogues,
Major Organ And The Adding Machine,
Susan Cadogan,
Basic Channel,
Fatback Band,
Black Moon,
The Raincoats,
Leonard Cohen,
Oneida,
Sex Pistols,
Lungfish,
Lee Hazlewood,
Blancmange,
World's Most,
Avey Tare & Kría Brekkan,
Lebanon Hanover,
Nik Kershaw,
Saccharine Trust,
Quando Quango,
Bronski Beat,
Brass Construction,
Pagans,
Liaisons Dangereuses,
Frankie Knuckles,
The Men They Couldn't Hang,
Kerrie Biddell,
Reuben Wilson,
Royal Trux,
Tommy Roe,
Kauko Röyhkä ja Narttu,
Scan 7,
Amon Düül,
Groovy Waters,
Curtis Mayfield,
Bizarre Inc.,
Robert Wyatt,
Scratch Acid,
Icehouse,
Goldenarms,
Eurythmics,
Black Pus,
Sister Nancy,
Barclay James Harvest,
Stockholm Monsters,
Tubeway Army,
Average White Band,
Cameo,
Fear,
Bill Near,
Dennis Brown,
De La Soul & Jungle Brothers,
Mandrill,
MC5,
Gong,
Echospace,
Von Mondo,
Orchestral Manoeuvres in the Dark,
Josef K,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.