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 Micronesia and from Tehran.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Cairo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Sticky Fingaz feat. Raekwon 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 Leonard Cohen. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Liliput 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
The Buckinghams,
Kas Product,
The Neon Judgement,
Jesper Dahlback,
Trumans Water,
The Selecter,
Minny Pops,
Girls At Our Best!,
Colin Newman,
Major Organ And The Adding Machine,
Johnny Osbourne,
The Vogues,
The Cure,
Eric Dolphy,
Cluster,
Moss Icon,
Lonnie Liston Smith,
Cabaret Voltaire,
Gang Gang Dance,
The Grass Roots,
Yazoo,
The Peanut Butter Conspiracy,
Sällskapet,
The American Breed,
Joyce Sims,
Y Pants,
Arab on Radar,
One Last Wish,
Be Bop Deluxe,
The Fugs,
Barrington Levy,
Ituana,
The Invisible,
Rekid,
Mary Jane Girls,
Strawberry Alarm Clock,
Brand Nubian,
Niagra,
Todd Terry,
Franke,
the Sonics,
The Chocolate Watch Band,
the Fania All-Stars,
Marc Romboy vs. Booka Shade,
The Jesus and Mary Chain,
Sun City Girls,
Amon Düül,
The Royal Family And The Poor,
Animal Collective,
Radiopuhelimet,
Sad Lovers and Giants,
Kurtis Blow,
The Index,
Excepter,
The Leaves,
Gerry Rafferty,
Bush Tetras,
Shuggie Otis,
Roxette, Roxette, Roxette, Roxette.
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.