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 Slovenia and from Manchester.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Calgary 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 mellotron 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 John Holt to the punk 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 Piero Umiliani. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Blossom Toes,
Bobby Byrd,
Charles Mingus,
Franke,
Heaven 17,
The Moleskins,
The Evens,
Moby Grape,
Gang of Four,
The Golliwogs,
Aloha Tigers,
Blake Baxter,
Electric Light Orchestra,
Scion,
Robert Görl,
KRS-One,
Bobby Womack,
The Neon Judgement,
the Soft Cell,
The Motions,
The Pop Group,
Nick Fraelich,
Flipper,
Lalo Schifrin,
It's A Beautiful Day,
The Velvet Underground,
Michelle Simonal,
Faust,
Ajijia Myrayebe,
Mark Hollis,
Laurel Aitken,
Oppenheimer Analysis,
The Dirtbombs,
Youth Brigade,
Visage,
Marc Almond,
DNA,
Flash Fearless,
The Count Five,
The Index,
The Angels of Light,
Scott Walker,
The Gun Club,
Trumans Water,
Stiv Bators,
Maurizio,
The Seeds,
Desert Stars,
Skriet,
New Order,
China Crisis,
Sarah Menescal,
Yazoo,
Pulsallama,
The Offenders,
Inner City,
Pantaleimon,
Yellowson,
the Human League,
Sound Behaviour,
Beasts of Bourbon,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.