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 Kosovo and from Lyon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
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 linndrum 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 Model 500 to the techno kids.
I played it at Trash.
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 Los Fastidios. All the underground hits.
All ABC tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Terrestrial Tones,
Severed Heads,
John Coltrane,
Scott Walker + Sunn O))),
Excepter,
The Move,
Electric Light Orchestra,
Lyres,
Slick Rick,
Bill Wells,
The West Coast Pop Art Experimental Band,
The Doobie Brothers,
The Red Krayola,
Ultramagnetic MC's,
Laurel Aitken,
The Gap Band,
Urselle,
Vladislav Delay,
Röyhkä ja Rättö ja Lehtisalo,
The Walker Brothers,
Lucky Dragons,
Albert Ayler,
Chris Corsano,
Rod Modell,
Kango’s Stein Massive,
Graham Central Station,
Boz Scaggs,
48th St. Collective,
Das Ding,
Stereo Dub,
Louis and Bebe Barron,
the Germs,
The Fall,
Colin Newman,
Rosa Yemen,
Sällskapet,
Dead Boys,
Ituana,
the Soft Cell,
Morten Harket,
Thinking Fellers Union Local 282,
Joe Finger,
Gil Scott-Heron and Jamie xx,
A Flock of Seagulls,
Heavy D & The Boyz,
Bobby Sherman,
Skarface,
Roy Ayers,
World's Most,
Eric B and Rakim,
Trumans Water,
Ornette Coleman,
Black Bananas,
Little Man,
Maleditus Sound,
Aloha Tigers,
Marshall Jefferson,
Steve Hackett,
T. Rex,
Tears for Fears,
La Düsseldorf,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.