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 Taiwan and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Blake Baxter to the grime kids.
I played it at the Spitz.
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 Chris & Cosey. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every the Association 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Absolute Body Control,
Yusef Lateef,
Glambeats Corp.,
Model 500,
Rotary Connection,
Shoche,
Public Image Ltd.,
FM Einheit,
Mantronix,
Charles Mingus,
Bush Tetras,
Surgeon,
Electric Prunes,
Johnny Osbourne,
Average White Band,
The Men They Couldn't Hang,
K-Klass,
Barbara Tucker,
U.S. Maple,
Sun City Girls,
Young Marble Giants,
Minnie Riperton,
Radiopuhelimet,
Gang of Four,
Malaria!,
Flipper,
The Monochrome Set,
Derrick May,
Das Ding,
James White and The Blacks,
David Axelrod,
The Names,
Rod Modell,
The New Christs,
The Cramps,
Soul II Soul,
The Kinks,
Accadde A,
Vladislav Delay,
The Angels of Light,
a-ha,
Arab on Radar,
Skriet,
Crispian St. Peters,
Jacques Brel,
Sandy B,
Neil Young & Crazy Horse,
Brothers Johnson,
Yazoo,
Bizarre Inc.,
Eric Copeland,
Graham Central Station,
Steve Hackett,
Scrapy,
The Cure,
James Chance & The Contortions,
Prince Buster,
Terrestrial Tones,
X-102,
The Happenings, The Happenings, The Happenings, The Happenings.
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.