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 Eritrea and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Gabor Szabo to the punk kids.
I played it at the Astoria.
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 Kerrie Biddell. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Bronski Beat,
Depeche Mode,
Animal Collective,
The Mighty Diamonds,
Zero Boys,
Bush Tetras,
Boredoms,
Fat Boys,
Silicon Teens,
Lower 48,
the Human League,
Neil Young & Crazy Horse,
Godley & Creme,
Nick Cave & The Bad Seeds,
David Axelrod,
Arcadia,
Unrelated Segments,
Deepchord,
Half Japanese,
Fort Wilson Riot,
F. McDonald,
Subhumans,
Alison Limerick,
Crispian St. Peters,
Franke,
Lalo Schifrin,
Joe Smooth,
The Dave Clark Five,
Robert Görl,
Country Joe & The Fish,
De La Soul & Jungle Brothers,
Scrapy,
Public Enemy,
Pantaleimon,
Susan Cadogan,
Soul II Soul,
Barrington Levy,
Public Image Ltd.,
Faust,
Symarip,
Drive Like Jehu,
Niagra,
Buzzcocks,
The Golliwogs,
The American Breed,
Mantronix,
These Immortal Souls,
Anakelly,
The Gories,
Monks,
Idris Muhammad,
The United States of America,
Camberwell Now,
Fatback Band,
Lafayette Afro Rock Band,
Jerry's Kids,
Sad Lovers and Giants,
Colin Newman,
Schoolly D,
UT, UT, UT, UT.
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.