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 Costa Rica and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Delhi.
I'm losing my edge to the art-school Shanghai 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 sitar sounds with much patience.
I was there when Donald Fagen 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 New Age Steppers to the electroclash kids.
I played it at the Astoria.
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 Marmalade. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Thinking Fellers Union Local 282,
Glambeats Corp.,
Rekid,
Chrome,
FM Einheit,
Lalo Schifrin,
Robert Hood,
Alphaville,
Pole,
Max Romeo,
Dorothy Ashby,
Easy Going,
The West Coast Pop Art Experimental Band,
Slick Rick,
Groovy Waters,
Isaac Hayes,
Dark Day,
Yazoo,
Symarip,
Hashim,
The Doors,
Unrelated Segments,
Frankie Knuckles,
Rosa Yemen,
Country Teasers,
Index,
The Slits,
Liliput,
Arab on Radar,
Gabor Szabo,
Sandy B,
Siouxsie and the Banshees,
The Leaves,
Carl Craig,
Gary Puckett & The Union Gap,
The Buckinghams,
Q and Not U,
Quando Quango,
New Age Steppers,
Bill Near,
MC5,
Soft Machine,
Kool G Rap & DJ Polo,
Neil Young & Crazy Horse,
Warren Ellis,
Marmalade,
Faust,
Marc Romboy vs. Booka Shade,
Stiv Bators,
Tommy Roe,
Negative Approach,
Arcadia,
Echo & the Bunnymen,
Parry Music,
Marc Almond,
Radiopuhelimet,
Rites of Spring,
the Slits,
The Skatalites,
The Standells,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.