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 Malawi and from Salvador.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 a-ha to the disco kids.
I played it at the Astoria.
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 Maurizio. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Bobby Hutcherson,
Animal Collective,
Quadrant,
Porter Ricks,
Fat Boys,
David Axelrod,
Morten Harket,
The Doors,
Saccharine Trust,
Connie Case,
Excepter,
Rhythm & Sound,
New York Dolls,
World's Most,
Amon Düül II,
Marc Almond,
Wings,
The Golliwogs,
Art Ensemble Of Chicago,
cv313,
Ronnie Foster,
Tropical Tobacco,
The Pop Group,
Banda Bassotti,
The Victims,
Main Source,
Malaria!,
Carl Craig,
Eddi Front,
John Lydon,
Fear,
Barrington Levy,
Rotary Connection,
Sandy B,
Gabor Szabo,
Kevin Saunderson,
48th St. Collective,
The West Coast Pop Art Experimental Band,
Radiohead,
Bobbi Humphrey,
Maurizio,
Fatback Band,
Cheater Slicks,
The Gories,
Thinking Fellers Union Local 282,
Red Lorry Yellow Lorry,
Pussy Galore,
Mo-Dettes,
The Tremeloes,
Neu!,
Funky Four + One,
Can,
DNA,
Eric Dolphy,
Teenage Jesus and the Jerks,
Thee Headcoats,
Josef K,
Rufus Thomas,
Chris & Cosey,
Roger Hodgson,
The Remains,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.