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 Fiji and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Ultra Naté to the dance 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 Tres Demented. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Yaz,
Young Marble Giants,
Ossler,
Yellowson,
The Fire Engines,
Todd Rundgren,
The United States of America,
The Gladiators,
Andrew Ashong & Theo Parrish,
Blake Baxter,
Fad Gadget,
The Dirtbombs,
These Immortal Souls,
Little Man,
Gong,
Ash Ra Tempel,
Outsiders,
Mr. Review,
Grauzone,
Larry & the Blue Notes,
The Black Dice,
Severed Heads,
Grandmaster Flash and the Furious Five,
Sandy B,
The Names,
Rosa Yemen,
Funkadelic,
Magazine,
Nas,
Dorothy Ashby,
Curtis Mayfield,
Model 500,
Rapeman,
Electric Light Orchestra,
Saccharine Trust,
Essential Logic,
Lalo Schifrin,
Buzzcocks,
Johnny Osbourne,
This Heat,
The Blackbyrds,
The Leaves,
Warren Ellis,
Don Cherry,
Lindisfarne,
Crispy Ambulance,
Eric B and Rakim,
Matthew Bourne,
DJ Sneak,
Leonard Cohen,
the Sonics,
Heavy D & The Boyz,
John Holt,
Michelle Simonal,
Sällskapet,
Bobbi Humphrey,
Robert Hood,
Sight & Sound,
Ludus,
Stetsasonic,
Steve Hackett,
Eric Dolphy,
John Lydon, John Lydon, John Lydon, John Lydon.
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.