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 Ukraine and from Glasgow.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Country Teasers to the electroclash kids.
I played it at Trash.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Man Eating Sloth,
Idris Muhammad,
ABC,
Rhythm & Sound,
Notorious BIG live in Amsterdam,
Interpol,
In Retrospect,
Lalo Schifrin,
Wings,
Bobby Womack,
Porter Ricks,
Sun City Girls,
Don Cherry,
David McCallum,
Brass Construction,
Traffic Nightmare,
Peter Gordon & Love of Life Orchestra,
Erykah Badu,
Wire,
Lou Christie,
Cluster,
Half Japanese,
Kas Product,
Barry Ungar,
Procol Harum,
Derrick Morgan,
Fugazi,
The Seeds,
Joyce Sims,
Bobbi Humphrey,
Colin Newman,
AZ,
Bronski Beat,
Tomorrow,
Judy Mowatt,
Freddie Wadling,
Qualms,
Curtis Mayfield,
Scientists,
The Grass Roots,
Lee Hazlewood,
EPMD,
Radiopuhelimet,
Roger Hodgson,
Gerry Rafferty,
Todd Rundgren,
A Flock of Seagulls,
Nik Kershaw,
Thinking Fellers Union Local 282,
Suicide,
Minutemen,
Pussy Galore,
X-Ray Spex,
Newcleus,
Average White Band,
Franke,
Neil Young,
Joe Smooth,
The Black Dice,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.