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 Bahrain and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the oboe 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 Rosa Yemen to the grunge 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 Andrew Hill. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every AZ 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Rod Modell,
D'Angelo,
The Techniques,
The Alarm Clocks,
Glambeats Corp.,
Eli Mardock,
OOIOO,
Gil Scott-Heron & Brian Jackson,
The Neon Judgement,
Echospace,
Flipper,
Peter & Gordon,
Eric Copeland,
Moebius,
June Days,
Mad Mike,
X-102,
Shoche,
Amon Düül II,
the Fania All-Stars,
R.M.O.,
Wings,
Dave Gahan,
Thompson Twins,
T.S.O.L.,
Bobby Sherman,
Khruangbin,
Joey Negro,
Eve St. Jones,
Malaria!,
Laurel Aitken,
Ultra Naté,
Oppenheimer Analysis,
Rhythm & Sound,
Icehouse,
Rowland S Howard / Lydia Lunch,
The Raincoats,
Warren Ellis,
Gichy Dan,
The Shadows of Knight,
The Divine Comedy,
Manfred Mann's Earth Band,
The Last Poets,
Chris Corsano,
KRS-One,
The Skatalites,
Bob Dylan,
the Slits,
Rekid,
Neil Young & Crazy Horse,
The Fortunes,
Sun City Girls,
Jerry's Kids,
ABBA,
Bobby Byrd,
The Vogues,
Mary Jane Girls,
Essential Logic,
Throbbing Gristle,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.