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 Tuvalu and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Robert Palmer 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 Nik Kershaw to the rock 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 Bizarre Inc.. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Deepchord 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Bill Wells,
The Zeros,
Audionom,
MC5,
D'Angelo,
Echospace,
R.M.O.,
The Velvet Underground,
Tom Boy,
Alton Ellis,
Erasure,
Gil Scott Heron,
Sly & The Family Stone,
Minor Threat,
Kayak,
The Chocolate Watch Band,
Hot Snakes,
Eden Ahbez,
Hardrive,
Ronnie Foster,
Robert Görl,
Strawberry Alarm Clock,
Deadbeat,
Brick,
Heaven 17,
Rod Modell,
10cc,
Soulsonic Force,
F. McDonald,
ABC,
Von Mondo,
Brass Construction,
Grey Daturas,
Sällskapet,
Eric Copeland,
Crash Course in Science,
Nils Olav,
Neu!,
Man Parrish,
Dual Sessions,
The Blues Magoos,
Eric B and Rakim,
Jeff Mills,
Average White Band,
Gang of Four,
Ken Boothe,
The Flesh Eaters,
Judy Mowatt,
Avey Tare & Kría Brekkan,
Peter & Gordon,
Toni Rubio,
Au Pairs,
Crooked Eye,
The Remains,
Sexual Harrassment,
Morten Harket,
Saccharine Trust,
Avey Tare,
The Associates,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.