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 Guinea and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Manila 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 güiro 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 Laurel Aitken to the grunge 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 Tears for Fears. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Ultra Naté,
Liaisons Dangereuses,
Funkadelic,
Siglo XX,
Alison Limerick,
Girls At Our Best!,
Unrelated Segments,
Yaz,
Maurizio,
Lou Christie,
Jacob Miller,
the Sonics,
Marc Almond,
Lucky Dragons,
Jeff Lynne,
Soft Machine,
Accadde A,
Agent Orange,
Shuggie Otis,
Pharaoh Sanders and the Fire Engines,
Delon & Dalcan,
The Fugs,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
Notorious Big And Bone Thugs,
Stiv Bators,
the Germs,
The Vogues,
Gang Gang Dance,
Depeche Mode,
Kerrie Biddell,
Fluxion,
Aural Exciters,
The Slits,
Yellowson,
48th St. Collective,
Minutemen,
The Gap Band,
The Dead C,
The Invisible,
Wire,
The Young Rascals,
The Associates,
Nick Fraelich,
Agitation Free,
Malaria!,
Pharoah Sanders,
Shoche,
Eric Copeland,
Joey Negro,
Kauko Röyhkä ja Narttu,
The Cosmic Jokers,
Brick,
Scrapy,
Mark Hollis,
Faust,
Crime,
Jerry's Kids,
Graham Central Station,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.