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 Macedonia and from Bremen.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Toronto 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 Lou Reed 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 Howard Jones to the punk kids.
I played it at the Roxy.
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 Strawberry Alarm Clock. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 Ronan record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Flamin' Groovies,
Bob Dylan,
Crime,
Slick Rick,
Cal Tjader,
John Holt,
Gregory Isaacs,
Michelle Simonal,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Dead Boys,
Erasure,
The Seeds,
Derrick Morgan,
Joensuu 1685,
Sad Lovers and Giants,
The Star Department,
Deepchord,
Connie Case,
Fatback Band,
The Gladiators,
The Monks,
Eyeless In Gaza,
Albert Ayler,
Qualms,
Minny Pops,
Newcleus,
The Leaves,
Surgeon,
Nation of Ulysses,
Bobby Byrd,
Pete Rock & C.L. Smooth,
Average White Band,
Delta 5,
Aswad,
Ohio Players,
Gang Green,
Boogie Down Productions,
Funkadelic,
Minutemen,
The Velvet Underground,
Kevin Saunderson,
Scott Walker,
Lakeside,
Fela Kuti,
Don Cherry,
Sonic Youth,
The Invisible,
Derrick May,
a-ha,
Alton Ellis,
Hashim,
Roger Hodgson,
Robert Görl,
Flipper,
Pussy Galore,
London Community Gospel Choir,
Electric Light Orchestra,
Kango’s Stein Massive,
Black Sheep,
Kool Moe Dee,
cv313, cv313, cv313, cv313.
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.