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 Montenegro and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Manchester 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Suicide to the grime kids.
I played it at CBGB's.
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 Brass Construction. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
The Move,
Gang Green,
Depeche Mode,
The Associates,
Babytalk,
Avey Tare,
Leonard Cohen,
Cecil Taylor,
Donny Hathaway,
Dark Day,
Yaz,
Radiopuhelimet,
The Cure,
Gang of Four,
Bob Dylan,
Newcleus,
Michelle Simonal,
Matthew Bourne,
Ralphi Rosario,
Lower 48,
Lalann,
Deutsch Amerikanische Freundschaft,
Hoover,
Toni Rubio,
Nick Fraelich,
Zapp,
In Retrospect,
Negative Approach,
The Trojans,
Grandmaster Flash and the Furious Five,
Yellowson,
Beasts of Bourbon,
Barclay James Harvest,
Ohio Players,
Black Bananas,
The Dirtbombs,
The Barracudas,
Camouflage,
Amon Düül II,
8 Eyed Spy,
Kool Moe Dee,
Sarah Menescal,
The Offenders,
10cc,
Joey Negro,
Dennis Brown,
Marshall Jefferson,
The Tremeloes,
Deakin,
Khruangbin,
Kango’s Stein Massive,
Harpers Bizarre,
Pylon,
Thompson Twins,
Rakim,
This Heat,
Jimmy McGriff,
Wings,
David Axelrod,
The Litter,
E-Dancer,
Television, Television, Television, Television.
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.