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 Luxembourg and from Calgary.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Sound Behaviour to the funk kids.
I played it at the Roxy.
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 Stereo Dub. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Moleskins,
Jeru the Damaja,
The Shadows of Knight,
Outsiders,
Von Mondo,
Intrusion,
Eddi Front,
Andrew Hill,
The Cowsills,
Kings Of Tomorrow,
Angels of Light & Akron/Family,
Lyres,
Jerry's Kids,
The Kinks,
Electric Light Orchestra,
The Black Dice,
Barclay James Harvest,
Kenny Larkin,
Second Layer,
Rekid,
Jacob Miller,
Throbbing Gristle,
Liaisons Dangereuses,
Amazonics,
Loose Ends,
Toni Rubio,
Schoolly D,
The Doobie Brothers,
Accadde A,
Model 500,
Gil Scott-Heron and Jamie xx,
Sarah Menescal,
Gong,
Howard Jones,
Sexual Harrassment,
Chrome,
Soul Sonic Force,
Technova,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Monochrome Set,
Pole,
the Bar-Kays,
The Detroit Cobras,
Basic Channel,
Boredoms,
Alphaville,
The Buckinghams,
Sunsets and Hearts,
Quando Quango,
The Jesus and Mary Chain,
Ten City,
Bootsy Collins,
Mars,
Faust,
Jeff Lynne,
Michelle Simonal,
Terror Squad Feat. Camron,
Au Pairs,
The Durutti Column,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.