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 Micronesia and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Milan 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 harpsichord 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 Max Romeo to the electroclash kids.
I played it at the Hacienda.
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 Letta Mbulu. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Half Japanese,
Lower 48,
The Jesus and Mary Chain,
Wire,
Brick,
Technova,
Monks,
Gang Starr,
Sad Lovers and Giants,
Ultramagnetic MC's,
Sound Behaviour,
The J.B.'s,
The Real Kids,
Fear,
Roger Hodgson,
The Smoke,
Underground Resistance,
Deutsch Amerikanische Freundschaft,
Rotary Connection,
Lightning Bolt,
Michelle Simonal,
Peter Gordon & Love of Life Orchestra,
Basic Channel,
Cluster,
It's A Beautiful Day,
Maurizio,
John Coltrane,
Pantytec,
Newcleus,
Manfred Mann's Earth Band,
Public Image Ltd.,
Connie Case,
Charles Mingus,
Thompson Twins,
Avey Tare,
Andrew Ashong & Theo Parrish,
Bang on a Can All-Stars,
Whodini,
The Sound,
The Shadows of Knight,
Howard Jones,
Crime,
Desert Stars,
Barry Ungar,
Outsiders,
Sugar Minott,
Bush Tetras,
Heaven 17,
Ronnie Foster,
Bootsy Collins,
The Alarm Clocks,
Patti Smith,
a-ha,
Tropical Tobacco,
The Cure,
Unwound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blake Baxter,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.