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 Nicaragua and from Woodstock.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb 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 Index to the rock 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 Jerry Gold Smith. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The Motions 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Agent Orange,
The Fall,
DJ Style,
The Blackbyrds,
Robert Görl,
The Peanut Butter Conspiracy,
Chris Corsano,
The Mighty Diamonds,
Little Man,
Jesper Dahlbäck,
Franke,
Mars,
Max Romeo,
Shoche,
Kaleidoscope,
Steve Hackett,
Intrusion,
Orchestral Manoeuvres in the Dark,
Roger Hodgson,
Glambeats Corp.,
Accadde A,
Excepter,
Barbara Tucker,
The Saints,
Bobby Womack,
The Move,
Flamin' Groovies,
Oneida,
Andrew Ashong & Theo Parrish,
the Bar-Kays,
Mary Jane Girls,
the Normal,
Cluster,
The Electric Prunes,
Marine Girls,
Byron Stingily,
Sight & Sound,
Matthew Bourne,
Gang Green,
Art Ensemble Of Chicago,
Lungfish,
Derrick May,
Gabor Szabo,
The Zeros,
The Beau Brummels,
PIL,
Sound Behaviour,
The Flesh Eaters,
Kerri Chandler,
Eric B and Rakim,
Neil Young,
The Associates,
John Holt,
Throbbing Gristle,
Pete Rock & C.L. Smooth,
Eurythmics,
Fear, Fear, Fear, Fear.
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.