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 Kuwait and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school London 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 marimba 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 Nico to the punk kids.
I played it at the 40 Watt.
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 Country Joe & The Fish. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Radio Birdman,
Main Source,
Ice-T,
Big Daddy Kane,
Terrestrial Tones,
Livin' Joy,
Joyce Sims,
Davy DMX,
Eric Copeland,
Heaven 17,
Slave,
Panda Bear,
Suburban Knight,
Alice Coltrane,
Bush Tetras,
Matthew Bourne,
Cabaret Voltaire,
Qualms,
Pagans,
Thompson Twins,
Oneida,
Dave Gahan,
Inner City,
World's Most,
Tres Demented,
Leonard Cohen,
Marshall Jefferson,
The Fuzztones,
Marc Romboy vs. Booka Shade,
Absolute Body Control,
Todd Terry,
Neil Young & Crazy Horse,
Moss Icon,
Scrapy,
Wings,
The Grass Roots,
Art Ensemble Of Chicago,
Eden Ahbez,
The Sonics,
Todd Rundgren,
The Real Kids,
Robert Görl,
Circle Jerks,
Agitation Free,
James Chance & The Contortions,
The Beau Brummels,
Quando Quango,
The Happenings,
The Busters,
Judy Mowatt,
Marine Girls,
John Lydon,
Goldenarms,
Arthur Verocai,
Juan Atkins,
The Fall,
Young Marble Giants,
The Peanut Butter Conspiracy,
Henry Cow,
Bobby Byrd,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.