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 Andorra and from Copenhagen.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Maurizio to the rap kids.
I played it at the Crocodile.
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 Divine Comedy. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass 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?
The Standells,
Cluster,
Skaos,
Bobbi Humphrey,
Joey Negro,
Metal Thangz,
Matthew Halsall,
Fifty Foot Hose,
The Tremeloes,
Eric B and Rakim,
Vladislav Delay,
Tomorrow,
Jeff Lynne,
Johnny Osbourne,
Kaleidoscope,
CMW,
Royal Trux,
Audionom,
The Motions,
Soul Sonic Force,
Scrapy,
the Human League,
the Bar-Kays,
The Pop Group,
Tommy Roe,
New Order,
Spoonie Gee,
Symarip,
Sparks,
Khruangbin,
Cybotron,
Q65,
The Toasters,
Pet Shop Boys,
Eyeless In Gaza,
China Crisis,
Roxy Music,
Visage,
Marc Almond,
The Knickerbockers,
The Pretty Things,
Josef K,
Althea and Donna,
Au Pairs,
Louis and Bebe Barron,
Sunsets and Hearts,
The Star Department,
Dawn Penn,
Urselle,
Siouxsie and the Banshees,
Spandau Ballet,
John Cale,
This Heat,
The Slackers,
Larry & the Blue Notes,
The Searchers,
Make Up,
Mad Mike,
Terrestrial Tones,
The Moleskins,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.