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 Brazil and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Roger Hodgson to the funk 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 Ajijia Myrayebe. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow 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?
Model 500,
Index,
Ituana,
the Soft Cell,
The Jesus and Mary Chain,
Brothers Johnson,
Roger Hodgson,
Sun City Girls,
Camouflage,
The Grass Roots,
Pierre Henry,
Sad Lovers and Giants,
the Normal,
Desert Stars,
Bronski Beat,
Roxette,
The Angels of Light,
David Axelrod,
Kenny Larkin,
Gerry Rafferty,
Terrestrial Tones,
Colin Newman,
Fugazi,
Surgeon,
Porter Ricks,
The Knickerbockers,
The Smiths,
Gang Gang Dance,
Audionom,
Avey Tare's Slasher Flicks,
Electric Prunes,
Mark Hollis,
Andrew Ashong & Theo Parrish,
Erasure,
Bill Wells,
Grandmaster Flash and the Furious Five,
Jimmy McGriff,
Lafayette Afro Rock Band,
Los Fastidios,
The Smoke,
Negative Approach,
Black Flag,
Sound Behaviour,
Youth Brigade,
La Düsseldorf,
Fluxion,
Connie Case,
Eve St. Jones,
Moss Icon,
Strawberry Alarm Clock,
Steve Hackett,
Gregory Isaacs,
Hardrive,
The Gap Band,
Bang On A Can,
Zero Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gil Scott-Heron & Brian Jackson,
The Standells,
Eurythmics,
Lyres,
Mary Jane Girls,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.