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 Oman and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1978.
I'm losing my edge.
To all the kids in Portland and Lille.
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 Michael McDonald 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 Leonard Cohen to the funk kids.
I played it at the 40 Watt.
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 The Gun Club. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Gregory Isaacs 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 '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks 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?
Radiohead,
Boogie Down Productions,
Dual Sessions,
Kool Moe Dee,
Nick Cave & The Bad Seeds,
Avey Tare,
Lower 48,
Sällskapet,
Slave,
Panda Bear,
The Sisters of Mercy,
Ossler,
Idris Muhammad,
Crispy Ambulance,
UT,
Steve Hackett,
Super Lover Cee & Casanova Rud,
Ten City,
Roxette,
Angry Samoans,
Pole,
CMW,
Heavy D & The Boyz,
The Men They Couldn't Hang,
Andrew Ashong & Theo Parrish,
Beasts of Bourbon,
Radio Birdman,
Blossom Toes,
Camouflage,
the Germs,
Rotary Connection,
Lou Reed & John Cale,
The Angels of Light,
Pharaoh Sanders and the Fire Engines,
Drexciya,
Nils Olav,
Tim Buckley,
Scion,
Archie Shepp,
Lafayette Afro Rock Band,
The Buckinghams,
Yusef Lateef,
48th St. Collective,
Eurythmics,
Rosa Yemen,
Anakelly,
Harmonia,
Girls At Our Best!,
Cluster,
Stereo Dub,
The Cowsills,
The Alarm Clocks,
Stockholm Monsters,
Skriet,
Agitation Free,
D'Angelo,
Sun Ra,
Gil Scott-Heron & Brian Jackson,
Desert Stars,
Godley & Creme,
A Flock of Seagulls,
Howard Jones,
Faust, Faust, Faust, Faust.
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.