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 Zimbabwe and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Calgary and Stockholm.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Dennis Brown to the dance kids.
I played it at the Astoria.
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 Louis and Bebe Barron. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Jesper Dahlbäck,
Man Parrish,
The Busters,
Bobby Sherman,
the Slits,
The Motions,
Popol Vuh,
Brothers Johnson,
The Monochrome Set,
Lower 48,
Index,
The United States of America,
Country Teasers,
Von Mondo,
Lakeside,
Susan Cadogan,
Y Pants,
Avey Tare,
Monolake,
Dawn Penn,
Eurythmics,
Spandau Ballet,
Nils Olav,
Orchestral Manoeuvres in the Dark,
Wire,
AZ,
Angels of Light & Akron/Family,
Slick Rick,
Unrelated Segments,
the Swans,
Little Man,
the Human League,
Rakim,
Average White Band,
Kauko Röyhkä ja Narttu,
The Gories,
Sam Rivers,
Crooked Eye,
The Durutti Column,
John Holt,
Teenage Jesus and the Jerks,
Yusef Lateef,
Panda Bear,
Section 25,
Gabor Szabo,
Black Moon,
The Selecter,
Aloha Tigers,
John Lydon,
Darondo,
The Cramps,
Selector Dub Narcotic,
Sex Pistols,
B.T. Express,
Jerry's Kids,
Neu!,
Eric Copeland,
Notorious Big And Bone Thugs,
David Axelrod,
Donny Hathaway,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.