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 Algeria and from Manila.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Roxette to the rap 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 Warsaw. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Jeff Mills,
David Bowie,
Man Eating Sloth,
Matthew Bourne,
Alton Ellis,
Wolf Eyes,
Delon & Dalcan,
The Toasters,
Mr. Review,
Bauhaus,
The Real Kids,
The Jesus and Mary Chain,
Henry Cow,
Camberwell Now,
Rekid,
Electric Light Orchestra,
Hoover,
Au Pairs,
The Techniques,
Idris Muhammad,
Sugar Minott,
E-Dancer,
The Residents,
Eric B and Rakim,
PIL,
Wings,
The Smiths,
Cymande,
The Index,
Skarface,
The Names,
Davy DMX,
Outsiders,
Pere Ubu,
Funky Four + One,
The Durutti Column,
Brick,
Make Up,
Black Bananas,
Morten Harket,
Marcia Griffiths,
Godley & Creme,
Soul Sonic Force,
Frankie Knuckles,
Agitation Free,
Ituana,
Junior Murvin,
the Soft Cell,
R.M.O.,
Freddie Wadling,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
T.S.O.L.,
Cameo,
Harry Pussy,
Blossom Toes,
Bluetip,
Alphaville,
Camouflage,
Radiopuhelimet,
Q65,
Roxette,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.