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 Swaziland and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Paris and Madrid.
I'm losing my edge to the art-school Mexico City 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 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 Traffic Nightmare to the punk kids.
I played it at Trash.
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 June Days. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
The Trojans,
The Index,
Nils Olav,
Dark Day,
Soul Sonic Force,
Orchestral Manoeuvres in the Dark,
Sam Rivers,
Sonic Youth,
Matthew Halsall,
Tommy Roe,
Susan Cadogan,
Tropical Tobacco,
Aloha Tigers,
Colin Newman,
Rotary Connection,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Faraquet,
The Evens,
Lalo Schifrin,
Bad Manners,
The Alarm Clocks,
Pantaleimon,
the Association,
Terror Squad Feat. Camron,
Pussy Galore,
Joe Finger,
Accadde A,
Rosa Yemen,
Bobbi Humphrey,
The Knickerbockers,
The Gun Club,
Arthur Verocai,
Louis and Bebe Barron,
Robert Görl,
Section 25,
the Sonics,
Country Teasers,
the Human League,
Skarface,
Gil Scott Heron,
Ultimate Spinach,
Los Fastidios,
Radio Birdman,
Electric Prunes,
Public Enemy,
KRS-One,
Eurythmics,
Silicon Teens,
Das Ding,
Art Ensemble Of Chicago,
Reagan Youth,
The Pop Group,
Wire,
Malaria!,
Brand Nubian,
Jerry Gold Smith,
Main Source,
Youth Brigade,
The Gap Band,
Tres Demented,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.