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 Denmark and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Drive Like Jehu to the punk 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 Althea and Donna. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
The Standells,
Alice Coltrane,
Erykah Badu,
It's A Beautiful Day,
David McCallum,
Cameo,
U.S. Maple,
The Sisters of Mercy,
Terrestrial Tones,
Alton Ellis,
The Alarm Clocks,
The Searchers,
AZ,
Agent Orange,
Easy Going,
Animal Collective,
Silicon Teens,
DJ Style,
Joey Negro,
The Fortunes,
JFA,
The Cramps,
John Foxx,
The Offenders,
Zero Boys,
Lou Christie,
The Walker Brothers,
Bobby Hutcherson,
Angry Samoans,
The Star Department,
The Red Krayola,
Joensuu 1685,
Wolf Eyes,
Circle Jerks,
Deepchord,
Pere Ubu,
The Sound,
Jesper Dahlbäck,
Minnie Riperton,
The Victims,
Avey Tare's Slasher Flicks,
The Neon Judgement,
Wighnomy Brothers & Robag Wruhme,
Reagan Youth,
Peter Gordon & Love of Life Orchestra,
Joy Division,
Pete Rock & C.L. Smooth,
Goldenarms,
Selector Dub Narcotic,
Maleditus Sound,
Popol Vuh,
Robert Wyatt,
Lou Reed & John Cale,
Bang on a Can All-Stars,
Outsiders,
Parry Music,
Cal Tjader,
Sexual Harrassment,
Cybotron,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.