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 Mali and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Calgary.
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 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 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 Marcia Griffiths 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 Kerrie Biddell. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Scrapy 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Bang on a Can All-Stars,
Kenny Larkin,
World's Most,
Delon & Dalcan,
Ultravox,
the Slits,
James White and The Blacks,
Judy Mowatt,
Roxette,
Barry Ungar,
Audionom,
Cecil Taylor,
Slave,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Eve St. Jones,
The United States of America,
Hoover,
the Soft Cell,
Bootsy's Rubber Band,
Second Layer,
Aswad,
Popol Vuh,
Dorothy Ashby,
Swans,
Davy DMX,
Zapp,
Dennis Brown,
Nik Kershaw,
Bill Wells,
Pere Ubu,
Gregory Isaacs,
The Doobie Brothers,
Television,
Quantec,
Roxy Music,
London Community Gospel Choir,
Ludus,
David McCallum,
John Coltrane,
The Vogues,
Alton Ellis,
The Cowsills,
Tres Demented,
Severed Heads,
Nation of Ulysses,
Lonnie Liston Smith,
Rhythim Is Rhythim,
Gabor Szabo,
Sight & Sound,
Nick Fraelich,
Kurtis Blow,
Tropical Tobacco,
Swell Maps,
Funky Four + One,
Red Lorry Yellow Lorry,
Sixth Finger,
Anthony Braxton,
Peter Gordon & Love of Life Orchestra,
Jesper Dahlback,
Alphaville,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.