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 Peru and from Tokyo.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Angels of Light & Akron/Family to the techno 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 The Offenders. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Intrusion 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Bobby Hutcherson,
Lizzy Mercier Descloux,
In Retrospect,
Parry Music,
Barrington Levy,
Simply Red,
DNA,
Eve St. Jones,
Roxette,
Soulsonic Force,
Essential Logic,
Schoolly D,
The Dirtbombs,
Youth Brigade,
The Doobie Brothers,
The Doors,
Lindisfarne,
Prince Buster,
Eddi Front,
Oblivians,
Soul II Soul,
The Mummies,
Gil Scott Heron,
The Knickerbockers,
The Five Americans,
The Leaves,
Tommy Roe,
The Remains,
The Blackbyrds,
Jesper Dahlbäck,
Kool G Rap & DJ Polo,
The Motions,
Sparks,
Interpol,
Arcadia,
The Young Rascals,
The Black Dice,
Pagans,
The Monochrome Set,
David McCallum,
Darondo,
John Coltrane,
Drive Like Jehu,
Quantec,
Mission of Burma,
Nation of Ulysses,
The Gories,
Bizarre Inc.,
Peter and Kerry,
Orchestral Manoeuvres in the Dark,
Theoretical Girls,
The Monks,
Negative Approach,
Ultravox,
The Last Poets,
Y Pants,
Jacques Brel,
Nico,
Pere Ubu,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.