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 China and from New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Edmonton and London.
I'm losing my edge to the art-school Tehran 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 Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Jacques Brel to the techno 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 Joyce Sims. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Dark Day,
Gang of Four,
Scion,
Spoonie Gee,
Pharaoh Sanders and the Fire Engines,
Erasure,
D'Angelo,
Vladislav Delay,
Judy Mowatt,
Mandrill,
The Mojo Men,
Swell Maps,
Oppenheimer Analysis,
June of 44,
Ash Ra Tempel,
Henry Cow,
Hasil Adkins,
Severed Heads,
Reuben Wilson,
The Kinks,
Nirvana,
Mad Mike,
Magma,
Motorama,
Althea and Donna,
The Flesh Eaters,
Lou Reed,
Flipper,
Bauhaus,
Leonard Cohen,
DJ Sneak,
Kango’s Stein Massive,
Marmalade,
Kerrie Biddell,
Laurel Aitken,
Lyres,
Talk Talk,
Ronnie Foster,
Robert Hood,
Todd Rundgren,
R.M.O.,
Bobby Sherman,
Q65,
James White and The Blacks,
Kaleidoscope,
Jawbox,
Iggy Pop,
Silicon Teens,
Tubeway Army,
Blake Baxter,
Lou Reed & John Cale,
Khruangbin,
Au Pairs,
The Jesus and Mary Chain,
The Detroit Cobras,
Soul II Soul,
the Bar-Kays,
Cal Tjader,
Guru Guru,
Cameo, Cameo, Cameo, Cameo.
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.