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 Ethiopia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Milan 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 marimba sounds with much patience.
I was there when David Bowie 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 Selector Dub Narcotic to the jazz 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 The Grass Roots. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Porter Ricks,
Au Pairs,
John Coltrane,
Jesper Dahlbäck,
Marine Girls,
Nirvana,
Dawn Penn,
Glambeats Corp.,
Niagra,
Sam Rivers,
Funkadelic,
Severed Heads,
Lee Hazlewood,
Los Fastidios,
Essential Logic,
Jeff Lynne,
The Fortunes,
In Retrospect,
Pole,
Whodini,
Duran Duran,
Liaisons Dangereuses,
Eric Copeland,
Amon Düül,
Bobby Hutcherson,
ABBA,
Barclay James Harvest,
Ituana,
Lungfish,
Bobby Sherman,
X-101,
the Fania All-Stars,
Boredoms,
Ten City,
Howard Jones,
Thee Headcoats,
Con Funk Shun,
Rahsaan Roland Kirk,
Joensuu 1685,
Chris Corsano,
Bobby Womack,
Fat Boys,
kango's stein massive,
Ronan,
The Fire Engines,
Be Bop Deluxe,
Ultramagnetic MC's,
Model 500,
Amon Düül II,
Kerrie Biddell,
The Human League,
John Holt,
Scan 7,
Nik Kershaw,
Sun City Girls,
Vladislav Delay,
Public Image Ltd.,
Davy DMX,
Fort Wilson Riot,
Skaos, Skaos, Skaos, Skaos.
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.