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 Colombia and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 The Pop Group to the techno kids.
I played it at the Roxy.
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 Con Funk Shun. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Mandrill 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Donald Byrd,
Jeru the Damaja,
Barrington Levy,
Wire,
Bobbi Humphrey,
Urselle,
Eddi Front,
The Motions,
The Detroit Cobras,
Bobby Byrd,
Eve St. Jones,
Shoche,
Flamin' Groovies,
Orchestral Manoeuvres in the Dark,
Franke,
Masters at Work,
Tom Boy,
Japan,
Monks,
The Pop Group,
Nick Fraelich,
Pole,
AZ,
the Germs,
Roger Hodgson,
Soul Sonic Force,
The Slits,
Soft Cell,
The Fortunes,
Crash Course in Science,
Cecil Taylor,
Godley & Creme,
Justin Hinds & The Dominoes,
Avey Tare & Kría Brekkan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
The Mojo Men,
Procol Harum,
Pantaleimon,
Sad Lovers and Giants,
Gong,
Scott Walker,
Stockholm Monsters,
Kool Moe Dee,
Bluetip,
Stereo Dub,
Camron Feat. Jay Z And Juelz,
Amon Düül,
Sound Behaviour,
Crooked Eye,
Lou Christie,
Public Image Ltd.,
Lightning Bolt,
The Skatalites,
ABBA,
Bobby Hutcherson,
Angels of Light & Akron/Family,
Dennis Brown,
The Wake,
Black Pus,
Bob Dylan,
Infiniti,
Ponytail, Ponytail, Ponytail, Ponytail.
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.