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 Malawi and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Average White Band to the punk kids.
I played it at the Roxy.
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 Blues Magoos. All the underground hits.
All Fear tracks. I heard you have a vinyl of every La Düsseldorf 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Pere Ubu,
A Certain Ratio,
Aloha Tigers,
The Fall,
Altered Images,
Hasil Adkins,
Jawbox,
Franke,
Lightning Bolt,
This Heat,
Skriet,
Juan Atkins,
The Moody Blues,
The Knickerbockers,
Jerry Gold Smith,
Pole,
Q and Not U,
Stiv Bators,
B.T. Express,
Joe Smooth,
the Normal,
Soft Cell,
Lonnie Liston Smith,
Kool Moe Dee,
The Dead C,
Judy Mowatt,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Anakelly,
Camberwell Now,
Whodini,
Connie Case,
Matthew Bourne,
U.S. Maple,
Youth Brigade,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
Wally Richardson,
Siouxsie and the Banshees,
Japan,
The West Coast Pop Art Experimental Band,
the Association,
The Index,
Soulsonic Force,
Barrington Levy,
Nas,
Fluxion,
The Human League,
Ultimate Spinach,
Crispy Ambulance,
Oneida,
Pierre Henry,
KRS-One,
E-Dancer,
The Gun Club,
Mars,
Rotary Connection,
In Retrospect,
Vladislav Delay,
Ornette Coleman,
Roger Hodgson,
Black Flag,
The Victims,
Lower 48, Lower 48, Lower 48, Lower 48.
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.