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 Barbados and from Copenhagen.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Laurel Aitken to the grime kids.
I played it at the Spitz.
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 Davy DMX. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Surgeon record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Electric Prunes,
Lightning Bolt,
Underground Resistance,
Alison Limerick,
Marine Girls,
Severed Heads,
The Techniques,
Warren Ellis,
Roxette,
Moss Icon,
Bobbi Humphrey,
Animal Collective,
Fela Kuti,
Kerrie Biddell,
Oneida,
A Certain Ratio,
Andrew Hill,
Ponytail,
EPMD,
Brothers Johnson,
Robert Wyatt,
Shoche,
The Smoke,
the Slits,
Monolake,
Hardrive,
Dawn Penn,
The Motions,
A Flock of Seagulls,
The Gap Band,
Lafayette Afro Rock Band,
Hot Snakes,
Camron Feat. Jay Z And Juelz,
Terrestrial Tones,
Lebanon Hanover,
The Buckinghams,
Main Source,
Khruangbin,
The Cowsills,
Stiv Bators,
Minnie Riperton,
Kool G Rap & DJ Polo,
Suburban Knight,
Interpol,
Gong,
Echo & the Bunnymen,
Vaughan Mason & Crew,
AZ,
Traffic Nightmare,
Quantec,
Nas,
Joe Smooth,
Magazine,
The Pop Group,
Wally Richardson,
The Divine Comedy,
Crispian St. Peters,
KRS-One,
Orchestral Manoeuvres in the Dark,
Nirvana,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.