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 Malaysia and from Bremen.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 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 The Gladiators to the dance kids.
I played it at the Hacienda.
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 Camberwell Now. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Buckinghams,
Echospace,
CMW,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
The Searchers,
The J.B.'s,
Motorama,
Teenage Jesus and the Jerks,
The Kinks,
Aural Exciters,
Carl Craig,
Danielle Patucci,
The Chocolate Watch Band,
Porter Ricks,
Jacob Miller,
The Red Krayola,
Deepchord,
Minnie Riperton,
Gil Scott Heron,
Parry Music,
Television Personalities,
Panda Bear,
Negative Approach,
Gastr Del Sol,
Rufus Thomas,
Joyce Sims,
the Bar-Kays,
Main Source,
Peter Gordon & Love of Life Orchestra,
MDC,
Gil Scott-Heron and Jamie xx,
The Divine Comedy,
Johnny Osbourne,
Avey Tare's Slasher Flicks,
The Peanut Butter Conspiracy,
Quantec,
The Litter,
Jawbox,
Little Man,
Soft Machine,
Brothers Johnson,
Super Lover Cee & Casanova Rud,
Dead Boys,
E-Dancer,
Spandau Ballet,
Lindisfarne,
June of 44,
Gary Puckett & The Union Gap,
James Chance & The Contortions,
Supertramp,
Swell Maps,
Deadbeat,
The Dead C,
It's A Beautiful Day,
Franke,
Fela Kuti,
Symarip,
Liliput,
Patti Smith,
Public Image Ltd.,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.