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 Lithuania and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Portland and Tokyo.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 Excepter to the dance 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 Thee Headcoats. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Stereo Dub,
The Cramps,
The Kinks,
Camouflage,
Chris & Cosey,
Eric Copeland,
The Slackers,
The Wake,
Lebanon Hanover,
Henry Cow,
Moby Grape,
Aural Exciters,
Au Pairs,
Sun Ra Arkestra,
cv313,
Don Cherry,
Minor Threat,
Bobby Womack,
Theoretical Girls,
This Heat,
Camron Feat. Jay Z And Juelz,
Ten City,
Black Bananas,
New Age Steppers,
Cybotron,
New York Dolls,
Swans,
Gian Franco Pienzio,
Lower 48,
Boredoms,
Jeru the Damaja,
Bobby Hutcherson,
Joe Smooth,
Cal Tjader,
The Move,
Sad Lovers and Giants,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
Adolescents,
Tomorrow,
Porter Ricks,
Model 500,
Funkadelic,
Throbbing Gristle,
Dead Boys,
Robert Wyatt,
The Residents,
The Neon Judgement,
Shoche,
Pulsallama,
Matthew Halsall,
Bobbi Humphrey,
Khruangbin,
The American Breed,
Bad Manners,
Fifty Foot Hose,
Sun City Girls,
Colin Newman,
Jeff Mills,
Bobby Sherman,
Scion,
Minny Pops,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.