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 Congo and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 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 Laurel Aitken to the electroclash kids.
I played it at the Troubador.
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 Letta Mbulu. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Youth Brigade,
Eurythmics,
Brothers Johnson,
Radio Birdman,
Procol Harum,
Eric Copeland,
Gary Puckett & The Union Gap,
Pylon,
The Tremeloes,
Soul II Soul,
The Cowsills,
CMW,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Maleditus Sound,
The Evens,
Jesper Dahlback,
Model 500,
Lou Reed & John Cale,
Neil Young & Crazy Horse,
Black Bananas,
Ultravox,
Eric B and Rakim,
D'Angelo,
Michelle Simonal,
Public Enemy,
Harry Pussy,
Röyhkä ja Rättö ja Lehtisalo,
Susan Cadogan,
The Cramps,
The Blues Magoos,
Big Daddy Kane,
The United States of America,
Joensuu 1685,
Notorious BIG live in Amsterdam,
Josef K,
DJ Sneak,
Duran Duran,
The Men They Couldn't Hang,
the Fania All-Stars,
The Monochrome Set,
Rhythm & Sound,
The Raincoats,
Echospace,
Be Bop Deluxe,
ABC,
The Monks,
Ultramagnetic MC's,
Glambeats Corp.,
Tomorrow,
The Durutti Column,
Minor Threat,
Cheater Slicks,
Man Eating Sloth,
The Cosmic Jokers,
Oneida,
Matthew Halsall,
Rites of Spring,
MDC,
Robert Görl,
Easy Going,
Fat Boys,
Franke,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.