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 Paraguay and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1972.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Philadelphia 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 808 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 Funky Four + One to the disco 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 Lakeside. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Scrapy,
Lou Reed,
The Cure,
Dark Day,
Lonnie Liston Smith,
Blossom Toes,
MDC,
JFA,
The Golliwogs,
Aaron Thompson,
Parry Music,
MC5,
The Pop Group,
Fear,
Magazine,
Henry Cow,
Bobby Sherman,
Joyce Sims,
Funkadelic,
Bobby Byrd,
The Trojans,
Danielle Patucci,
Siglo XX,
Eyeless In Gaza,
Country Teasers,
Marmalade,
Gregory Isaacs,
Ronan,
Marvin Gaye,
T.S.O.L.,
Accadde A,
Matthew Bourne,
Dawn Penn,
Soul II Soul,
Prince Buster,
Amon Düül,
ABC,
ABBA,
Howard Jones,
Gang of Four,
The Kinks,
Big Daddy Kane,
Trumans Water,
The Techniques,
Flash Fearless,
Pagans,
Sonny Sharrock,
H. Thieme,
Saccharine Trust,
Don Cherry,
Kerri Chandler,
Bluetip,
Minor Threat,
Pharaoh Sanders and the Fire Engines,
Oppenheimer Analysis,
Bauhaus,
Public Image Ltd.,
Siouxsie and the Banshees,
Mad Mike,
Clear Light, Clear Light, Clear Light, Clear Light.
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.