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 Serbia 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 1969 to 1972.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Delhi 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Urselle to the grime kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Visage,
the Fania All-Stars,
Warsaw,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
In Retrospect,
Byron Stingily,
These Immortal Souls,
Wighnomy Brothers & Robag Wruhme,
The Selecter,
Oblivians,
The Motions,
Scott Walker + Sunn O))),
The Searchers,
Fifty Foot Hose,
Avey Tare's Slasher Flicks,
Glenn Branca,
The Durutti Column,
Masters at Work,
Make Up,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Laurel Aitken,
Pylon,
Amazonics,
Electric Light Orchestra,
Parry Music,
Janne Schatter,
The Slackers,
X-102,
Das Ding,
Todd Rundgren,
Second Layer,
Ossler,
Gang Starr,
Bobby Hutcherson,
Scratch Acid,
The Cowsills,
Orchestral Manoeuvres in the Dark,
Unwound,
Aaron Thompson,
The Alarm Clocks,
Bill Near,
Barrington Levy,
Amon Düül II,
Grauzone,
Lucky Dragons,
Boredoms,
The Angels of Light,
Grey Daturas,
Slave,
The Men They Couldn't Hang,
Black Pus,
Junior Murvin,
Harry Pussy,
Harmonia,
Mars,
Bill Wells,
The Zeros,
Erykah Badu,
Model 500, Model 500, Model 500, Model 500.
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.