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 Paraguay and from Philadelphia.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Tehran and Beijing.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Technova to the crunk kids.
I played it at the Crocodile.
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 Neil Young. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Absolute Body Control,
the Human League,
Ten City,
Erykah Badu,
L. Decosne,
Ralphi Rosario,
The Velvet Underground,
Beasts of Bourbon,
ABC,
Television Personalities,
Quadrant,
Kas Product,
Juan Atkins,
Infiniti,
Crash Course in Science,
a-ha,
Avey Tare's Slasher Flicks,
Gong,
Adolescents,
Spandau Ballet,
Nick Fraelich,
Duran Duran,
Outsiders,
Swans,
Peter and Kerry,
kango's stein massive,
Sister Nancy,
Mr. Review,
The Vogues,
Lindisfarne,
Tropical Tobacco,
the Fania All-Stars,
Maleditus Sound,
Lou Christie,
Warren Ellis,
Soft Machine,
Public Image Ltd.,
Slick Rick,
Swell Maps,
Orchestral Manoeuvres in the Dark,
AZ,
The Durutti Column,
Sandy B,
The Human League,
Radio Birdman,
Q and Not U,
Heavy D & The Boyz,
Ice-T,
Masters at Work,
DJ Sneak,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marine Girls,
Ajijia Myrayebe,
Lafayette Afro Rock Band,
Marshall Jefferson,
Section 25,
Lee Hazlewood,
Peter & Gordon,
Fela Kuti,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.