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 Bangladesh and from Milan.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Strawberry Alarm Clock to the jazz kids.
I played it at Cafe Wha.
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 Joy Division. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Excepter 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Tears for Fears,
Rapeman,
Symarip,
It's A Beautiful Day,
The Flesh Eaters,
Rekid,
the Normal,
A Certain Ratio,
Andrew Ashong & Theo Parrish,
Q65,
Panda Bear,
Tim Buckley,
Rhythm & Sound,
Yellowson,
The Standells,
The Seeds,
Jacques Brel,
U.S. Maple,
Kauko Röyhkä ja Narttu,
Absolute Body Control,
Eddi Front,
Flash Fearless,
Red Lorry Yellow Lorry,
The Real Kids,
Roger Hodgson,
The Kinks,
The Blackbyrds,
Nation of Ulysses,
H. Thieme,
The Doors,
The Music Machine,
Organ,
Barclay James Harvest,
Deakin,
Clear Light,
Fugazi,
Graham Central Station,
Jeff Mills,
Fat Boys,
Desert Stars,
Moby Grape,
Bobby Byrd,
Babytalk,
Bang on a Can All-Stars,
Maleditus Sound,
Brass Construction,
Rakim,
A Flock of Seagulls,
Newcleus,
Crispian St. Peters,
Interpol,
Yaz,
Boredoms,
Can,
Country Joe & The Fish,
Massinfluence,
Sticky Fingaz feat. Raekwon,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.