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 East Timor and from Stockholm.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Lee Hazlewood to the disco kids.
I played it at Cafe Wha.
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 Terry Callier. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Hasil Adkins,
Robert Görl,
Public Enemy,
Skarface,
The Jesus and Mary Chain,
Deakin,
Roy Ayers,
The Durutti Column,
Brothers Johnson,
The Mummies,
Scott Walker,
The Golliwogs,
Notorious BIG live in Amsterdam,
John Coltrane,
Dennis Brown,
Morten Harket,
Donald Byrd,
Gong,
Black Flag,
Marine Girls,
FM Einheit,
Yazoo,
Monolake,
Animal Collective,
Dawn Penn,
Main Source,
These Immortal Souls,
The Royal Family And The Poor,
Lafayette Afro Rock Band,
Ohio Players,
The Fuzztones,
Dark Day,
The Sonics,
Saccharine Trust,
Bootsy Collins,
Jimmy McGriff,
Second Layer,
Gerry Rafferty,
Public Image Ltd.,
Fat Boys,
Urselle,
Piero Umiliani,
the Germs,
Andrew Hill,
Yaz,
The Pop Group,
Crime,
Mad Mike,
Zapp,
the Association,
Selector Dub Narcotic,
Pharaoh Sanders and the Fire Engines,
Gang of Four,
The Divine Comedy,
Rotary Connection,
Junior Murvin,
Gil Scott Heron,
Ponytail,
The Dead C,
the Slits, the Slits, the Slits, the Slits.
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.