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 Solomon Islands and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Calgary 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 The Music Machine to the rap 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 Vogues. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Neu!,
Super Lover Cee & Casanova Rud,
Gang Green,
The Divine Comedy,
Second Layer,
Adolescents,
the Human League,
Justin Hinds & The Dominoes,
Aaron Thompson,
Marcia Griffiths,
Crooked Eye,
Juan Atkins,
Bizarre Inc.,
Royal Trux,
Roger Hodgson,
Lalann,
New Age Steppers,
Zapp,
Neil Young & Crazy Horse,
Aural Exciters,
The Mojo Men,
Cameo,
Panda Bear,
Bronski Beat,
Animal Collective,
X-Ray Spex,
Oneida,
Half Japanese,
Ohio Players,
Parry Music,
Mission of Burma,
David Bowie,
Dennis Brown,
Andrew Hill,
Barclay James Harvest,
Harry Pussy,
Alison Limerick,
K-Klass,
X-102,
Bill Wells,
Theoretical Girls,
Absolute Body Control,
London Community Gospel Choir,
Blossom Toes,
Ituana,
The Associates,
Buzzcocks,
Technova,
The Flesh Eaters,
Crispy Ambulance,
Nico,
Fifty Foot Hose,
The Smiths,
Lucky Dragons,
Glenn Branca,
Joy Division,
Faust,
Cal Tjader,
Crash Course in Science,
Nik Kershaw,
ABC,
Camberwell Now,
T. Rex, T. Rex, T. Rex, T. Rex.
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.