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 Burkina and from Shanghai.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Lyon 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 Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 The Happenings to the techno kids.
I played it at CBGB's.
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 Gregory Isaacs. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Warren Ellis 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Yellowson,
Maleditus Sound,
Marmalade,
Bobby Sherman,
One Last Wish,
Intrusion,
Lee Hazlewood,
Flamin' Groovies,
Eyeless In Gaza,
R.M.O.,
Terry Callier,
Hoover,
Matthew Bourne,
Mission of Burma,
Suicide,
T. Rex,
Gil Scott-Heron and Jamie xx,
Jesper Dahlback,
U.S. Maple,
The Beau Brummels,
John Lydon,
Sonny Sharrock,
Blossom Toes,
Lightning Bolt,
The Modern Lovers,
Ultramagnetic MC's,
Symarip,
Erasure,
Lizzy Mercier Descloux,
Zero Boys,
Man Eating Sloth,
Dawn Penn,
Yazoo,
Yusef Lateef,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
Harmonia,
Pantytec,
Flipper,
Ice-T,
Kool G Rap & DJ Polo,
Peter Gordon & Love of Life Orchestra,
Fear,
H. Thieme,
The Real Kids,
Piero Umiliani,
The West Coast Pop Art Experimental Band,
The Invisible,
Little Man,
Supertramp,
Brass Construction,
Talk Talk,
Pere Ubu,
Kayak,
the Human League,
The Last Poets,
Frankie Knuckles,
Jeff Mills,
Soul II Soul,
The Blues Magoos,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.