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 Turkmenistan and from Manila.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Toronto and London.
I'm losing my edge to the art-school Toronto 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 snare 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 Funky Four + One to the crunk kids.
I played it at the 40 Watt.
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 The Kinks. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Charles Mingus 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Hoover,
Robert Hood,
World's Most,
Peter Gordon & Love of Life Orchestra,
Pantytec,
David Axelrod,
Funkadelic,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Josef K,
Barrington Levy,
Fatback Band,
Al Stewart,
The Velvet Underground,
Traffic Nightmare,
Red Lorry Yellow Lorry,
Spandau Ballet,
Lou Reed,
the Germs,
Brick,
Lou Christie,
FM Einheit,
Faust,
Soft Cell,
Ronnie Foster,
Freddie Wadling,
Cybotron,
The Zeros,
The Happenings,
Bad Manners,
The Modern Lovers,
UT,
Max Romeo,
The Grass Roots,
Be Bop Deluxe,
Public Image Ltd.,
Procol Harum,
DJ Sneak,
Trumans Water,
Sound Behaviour,
The Neon Judgement,
Bobbi Humphrey,
Soft Machine,
Excepter,
10cc,
Deadbeat,
Soul II Soul,
Faraquet,
June Days,
Quantec,
The Dead C,
The Cowsills,
The Mojo Men,
Kool Moe Dee,
MDC,
Audionom,
The Martian,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.