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 Guyana and from Tehran.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Aural Exciters to the disco 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 Funky Four + One. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 Alarm Clocks,
Marc Almond,
Gerry Rafferty,
Jesper Dahlback,
Joe Smooth,
Ajijia Myrayebe,
John Holt,
Byron Stingily,
Kerri Chandler,
Ronan,
New Age Steppers,
Mandrill,
Glambeats Corp.,
Goldenarms,
Erykah Badu,
Lyres,
Angels of Light & Akron/Family,
Danielle Patucci,
The Fall,
Gil Scott-Heron & Brian Jackson,
Organ,
Magma,
Television,
Main Source,
The Walker Brothers,
Supertramp,
Theoretical Girls,
Stetsasonic,
Anthony Braxton,
Sarah Menescal,
Roy Ayers Ubiquity,
Rowland S Howard / Lydia Lunch,
Los Fastidios,
Rites of Spring,
Colin Newman,
The Shadows of Knight,
Scott Walker + Sunn O))),
Sällskapet,
Barclay James Harvest,
Notorious BIG live in Amsterdam,
Pierre Henry,
F. McDonald,
Orchestral Manoeuvres in the Dark,
Slick Rick,
Andrew Ashong & Theo Parrish,
Chris & Cosey,
Chris Corsano,
Electric Light Orchestra,
Scan 7,
The Evens,
The Standells,
Ultimate Spinach,
Kas Product,
Panda Bear,
The Smoke,
Echo & the Bunnymen,
Livin' Joy,
It's A Beautiful Day,
Michelle Simonal,
Rhythm & Sound,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.