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 Guyana 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 1963 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 Seoul 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Jesus and Mary Chain to the punk kids.
I played it at the Spitz.
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 ABBA. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Chrome,
Visionaries,LMNO, T- Love & Iriscience,
The Blues Magoos,
The Star Department,
Bad Manners,
Archie Shepp,
Deutsch Amerikanische Freundschaft,
Michelle Simonal,
Amon Düül II,
The Stooges,
Bobbi Humphrey,
Harpers Bizarre,
Jesper Dahlbäck,
Jacob Miller,
Main Source,
Cecil Taylor,
Funky Four + One,
Groovy Waters,
Siouxsie and the Banshees,
Electric Prunes,
Roy Ayers Ubiquity,
Thompson Twins,
Blake Baxter,
Soft Cell,
Gary Puckett & The Union Gap,
Andrew Hill,
Kango’s Stein Massive,
Q65,
Terry Callier,
Ten City,
Electric Light Orchestra,
Amazonics,
Pylon,
Eurythmics,
Sound Behaviour,
Icehouse,
Scion,
Ultramagnetic MC's,
Fatback Band,
Oppenheimer Analysis,
Max Romeo,
The Music Machine,
Scrapy,
Gang of Four,
Section 25,
Gong,
Con Funk Shun,
Aaron Thompson,
Pere Ubu,
Negative Approach,
Tears for Fears,
Traffic Nightmare,
Kaleidoscope,
Selector Dub Narcotic,
Johnny Osbourne,
ABC,
The Moody Blues,
Ludus,
Warren Ellis,
Graham Central Station,
Thee Headcoats,
Eden Ahbez,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.