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 Argentina and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Reuben Wilson to the electroclash kids.
I played it at the Roxy.
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 Roxy Music. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Tomorrow 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 '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Swell Maps,
Terror Squad Feat. Camron,
Wighnomy Brothers & Robag Wruhme,
Section 25,
Mark Hollis,
Skriet,
Loose Ends,
Angels of Light & Akron/Family,
Hot Snakes,
Kurtis Blow,
The Evens,
Sonny Sharrock,
Cheater Slicks,
Black Moon,
Brothers Johnson,
The Shadows of Knight,
Marmalade,
Deepchord,
Kayak,
Anakelly,
June Days,
Yaz,
Heavy D & The Boyz,
Flipper,
The Human League,
Radiohead,
The Alarm Clocks,
Stereo Dub,
Ultra Naté,
The Velvet Underground,
Guru Guru,
Buzzcocks,
Negative Approach,
Grandmaster Flash,
New York Dolls,
Nation of Ulysses,
Don Cherry,
The United States of America,
The Fortunes,
Los Fastidios,
A Flock of Seagulls,
The Remains,
Scan 7,
Scott Walker,
Crooked Eye,
Sad Lovers and Giants,
The Seeds,
Josef K,
The Move,
The Litter,
The Victims,
Judy Mowatt,
UT,
Sunsets and Hearts,
Whodini,
The Sound,
The Associates,
Davy DMX,
Gil Scott-Heron and Jamie xx,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.