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 Lyon.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Supertramp to the grunge kids.
I played it at the Troubador.
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 Wire. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Eddi Front,
Public Enemy,
the Germs,
Strawberry Alarm Clock,
Mad Mike,
Stockholm Monsters,
Soulsonic Force,
Yellowson,
Dead Boys,
48th St. Collective,
Lafayette Afro Rock Band,
Blake Baxter,
The Happenings,
Robert Görl,
Throbbing Gristle,
Pere Ubu,
Danielle Patucci,
Jeff Lynne,
Television,
New Age Steppers,
Groovy Waters,
The Gladiators,
The Names,
Bizarre Inc.,
The West Coast Pop Art Experimental Band,
Schoolly D,
Mo-Dettes,
Art Ensemble Of Chicago,
Johnny Clarke,
Marine Girls,
Howard Jones,
Cal Tjader,
The Human League,
UT,
Cecil Taylor,
Excepter,
Be Bop Deluxe,
The Jesus and Mary Chain,
Deepchord,
Matthew Halsall,
Oblivians,
Masters at Work,
Television Personalities,
Procol Harum,
The Divine Comedy,
Wally Richardson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bronski Beat,
Neu!,
Peter & Gordon,
Negative Approach,
Arcadia,
Mars,
Aural Exciters,
KRS-One,
Juan Atkins,
Symarip,
Camberwell Now,
Junior Murvin,
These Immortal Souls,
Scott Walker,
Derrick May, Derrick May, Derrick May, Derrick May.
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.