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 Woodstock.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Zapp to the funk kids.
I played it at the Crocodile.
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 Arcadia. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Parry Music 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Wighnomy Brothers & Robag Wruhme,
Monolake,
Essential Logic,
Michelle Simonal,
Tomorrow,
Rufus Thomas,
Quadrant,
The Index,
These Immortal Souls,
Sexual Harrassment,
Kevin Saunderson,
Larry & the Blue Notes,
Connie Case,
The Slackers,
Brass Construction,
Jerry Gold Smith,
Todd Rundgren,
Ronan,
In Retrospect,
London Community Gospel Choir,
Spandau Ballet,
Roxy Music,
Peter & Gordon,
Alton Ellis,
the Swans,
Saccharine Trust,
Wolf Eyes,
Fat Boys,
U.S. Maple,
Audionom,
Sonny Sharrock,
The Fortunes,
The Last Poets,
Sound Behaviour,
Camron Feat. Jay Z And Juelz,
48th St. Collective,
Supertramp,
UT,
Country Teasers,
Soft Machine,
MDC,
The Cosmic Jokers,
Ice-T,
Monks,
Kool G Rap & DJ Polo,
Avey Tare's Slasher Flicks,
Cluster,
Dawn Penn,
Swans,
Frankie Knuckles,
Marc Romboy vs. Booka Shade,
Stiv Bators,
The Litter,
The Birthday Party,
Talk Talk,
Hot Snakes,
Harpers Bizarre,
Sällskapet,
K-Klass,
JFA,
Neu!, Neu!, Neu!, Neu!.
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.