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 Belarus and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1961 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Yusef Lateef to the techno kids.
I played it at Trash.
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 Faraquet. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
Smog,
The Golliwogs,
the Fania All-Stars,
Ohio Players,
Sound Behaviour,
Lou Christie,
The Dave Clark Five,
Stetsasonic,
Bobbi Humphrey,
Terrestrial Tones,
New Age Steppers,
Deepchord,
Marine Girls,
OOIOO,
Crash Course in Science,
Yazoo,
Talk Talk,
The Toasters,
John Coltrane,
Rosa Yemen,
Agent Orange,
H. Thieme,
Gichy Dan,
Erasure,
The Pretty Things,
It's A Beautiful Day,
Minnie Riperton,
Connie Case,
Cameo,
Blake Baxter,
Super Lover Cee & Casanova Rud,
The Associates,
Outsiders,
One Last Wish,
Shoche,
Masters at Work,
Man Parrish,
Swans,
Rekid,
Amon Düül II,
Gastr Del Sol,
Archie Shepp,
The Fall,
Eric B and Rakim,
Marc Almond,
Barry Ungar,
Index,
Motorama,
Eyeless In Gaza,
FM Einheit,
Dave Gahan,
Ossler,
The Gap Band,
Franke,
Gerry Rafferty,
The Mighty Diamonds,
Suicide,
Rakim,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.