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 Thailand and from Mumbai.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Tom Boy to the grime 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 Mr. Review. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Ronan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
David Axelrod,
Joensuu 1685,
Echospace,
Mo-Dettes,
Outsiders,
Buzzcocks,
Sunsets and Hearts,
The Modern Lovers,
The Vogues,
Lalo Schifrin,
The Monks,
June of 44,
Be Bop Deluxe,
Robert Wyatt,
Skriet,
Suburban Knight,
Lee Hazlewood,
The Cramps,
Sun Ra Arkestra,
Eric Dolphy,
Pere Ubu,
Rakim,
The Index,
Camouflage,
Anakelly,
Masters at Work,
Bobbi Humphrey,
Fifty Foot Hose,
Spandau Ballet,
Kool Moe Dee,
Kevin Saunderson,
The Buckinghams,
The Move,
Harry Pussy,
Model 500,
The United States of America,
Eli Mardock,
Gerry Rafferty,
Aaron Thompson,
Grauzone,
Sight & Sound,
The Beau Brummels,
The Black Dice,
The Motions,
Idris Muhammad,
The Sound,
the Soft Cell,
Mission of Burma,
Soul II Soul,
Pussy Galore,
Ludus,
Red Lorry Yellow Lorry,
Kerrie Biddell,
Barbara Tucker,
Eurythmics,
Josef K,
Boredoms,
Alison Limerick,
Crooked Eye,
Ultramagnetic MC's,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.