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 Cambodia and from Lagos.
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 1972.
I'm losing my edge.
To all the kids in New York and Winnipeg.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes 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 Nas to the funk 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 Magazine. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps 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?
Public Image Ltd.,
Major Organ And The Adding Machine,
The Misunderstood,
Newcleus,
The Barracudas,
Animal Collective,
Bill Near,
Jacob Miller,
The Selecter,
Massinfluence,
Wire,
Marmalade,
Lee Hazlewood,
Todd Terry,
Erykah Badu,
Scientists,
Drive Like Jehu,
Glambeats Corp.,
Tres Demented,
Terry Callier,
It's A Beautiful Day,
Connie Case,
Ajijia Myrayebe,
The Flesh Eaters,
Dual Sessions,
La Düsseldorf,
Moebius,
Electric Prunes,
Bluetip,
Bizarre Inc.,
Ronan,
the Soft Cell,
Eric B and Rakim,
H. Thieme,
Lou Reed,
Michelle Simonal,
ABC,
Stiv Bators,
Marcia Griffiths,
Gerry Rafferty,
Young Marble Giants,
Trumans Water,
Pharaoh Sanders and the Fire Engines,
Lindisfarne,
The Fire Engines,
Black Flag,
F. McDonald,
Ponytail,
Janne Schatter,
Sun Ra Arkestra,
Gregory Isaacs,
Pharoah Sanders,
Mars,
Bauhaus,
John Foxx,
Country Joe & The Fish,
Unrelated Segments,
Echo & the Bunnymen,
LL Cool J,
Roger Hodgson,
Camberwell Now,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.