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 Slovenia and from Lille.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Portland 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 organ 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 Deepchord to the grunge 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 Mad Mike. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Cowsills,
A Flock of Seagulls,
Vaughan Mason & Crew,
Frankie Knuckles,
Alton Ellis,
Intrusion,
Pylon,
Average White Band,
The Selecter,
Sonny Sharrock,
Sam Rivers,
Interpol,
Yaz,
Excepter,
Roy Ayers Ubiquity,
Robert Hood,
Red Lorry Yellow Lorry,
Rosa Yemen,
One Last Wish,
Rufus Thomas,
Little Man,
Fluxion,
Eli Mardock,
Roxette,
Japan,
The Five Americans,
Severed Heads,
Orchestral Manoeuvres in the Dark,
Reuben Wilson,
Accadde A,
Schoolly D,
Nik Kershaw,
Archie Shepp,
Deepchord,
R.M.O.,
Moss Icon,
Inner City,
Pharoah Sanders,
The Moleskins,
the Slits,
David McCallum,
The Cure,
The Beau Brummels,
Fela Kuti,
Parry Music,
Cabaret Voltaire,
Gian Franco Pienzio,
Man Parrish,
Cybotron,
the Human League,
Rekid,
Lightning Bolt,
Amon Düül,
The Barracudas,
Beasts of Bourbon,
Flipper,
Terry Callier,
Cal Tjader,
The Searchers,
Lungfish, Lungfish, Lungfish, Lungfish.
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.