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 Tokyo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Seoul.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 In Retrospect to the jazz 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 Arthur Verocai. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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,
R.M.O.,
Lou Reed & John Cale,
John Holt,
Guru Guru,
The Fugs,
Ice-T,
Gil Scott-Heron & Brian Jackson,
Buzzcocks,
Fluxion,
Rites of Spring,
Flash Fearless,
Man Parrish,
Grey Daturas,
Technova,
Bootsy Collins,
Joyce Sims,
Donny Hathaway,
The United States of America,
The Techniques,
Crash Course in Science,
Thinking Fellers Union Local 282,
Sex Pistols,
Scion,
Chris Corsano,
Mars,
Ultravox,
Juan Atkins,
Aloha Tigers,
Marine Girls,
the Human League,
Red Lorry Yellow Lorry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric B and Rakim,
Joensuu 1685,
Quando Quango,
Anakelly,
Beasts of Bourbon,
Inner City,
Television Personalities,
Roy Ayers,
Kings Of Tomorrow,
Massinfluence,
Bobby Womack,
T. Rex,
Average White Band,
Arthur Verocai,
N.O.R.E. Featuring Pharrell,
the Swans,
Boogie Down Productions,
James Chance & The Contortions,
Sugar Minott,
Sister Nancy,
Quadrant,
Fear,
Half Japanese,
Ajijia Myrayebe,
Al Stewart,
Pagans,
Janne Schatter,
Moebius, Moebius, Moebius, Moebius.
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.