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 Venezuela and from Columbus.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Mumbai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 The Residents to the grunge 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 This Heat. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Max Romeo,
Subhumans,
The Monks,
Banda Bassotti,
Susan Cadogan,
The Slits,
Gil Scott-Heron & Brian Jackson,
Sound Behaviour,
MDC,
Visionaries,LMNO, T- Love & Iriscience,
Black Bananas,
X-Ray Spex,
Dave Gahan,
Mantronix,
Young Marble Giants,
48th St. Collective,
Major Organ And The Adding Machine,
Main Source,
The Five Americans,
Pylon,
The Leaves,
Maurizio,
Chris & Cosey,
Tears for Fears,
The Slackers,
Deutsch Amerikanische Freundschaft,
Todd Rundgren,
Dorothy Ashby,
Oblivians,
Bobby Womack,
Q and Not U,
Lee Hazlewood,
DeepChord presents Echospace,
D'Angelo,
The Tremeloes,
Fat Boys,
Chris Corsano,
Tommy Roe,
Pantytec,
The Smiths,
Röyhkä ja Rättö ja Lehtisalo,
Bill Near,
The Seeds,
Jerry Gold Smith,
The Gladiators,
Rhythim Is Rhythim,
Scratch Acid,
Sun Ra Arkestra,
The Electric Prunes,
Lower 48,
Hardrive,
Barbara Tucker,
Ohio Players,
L. Decosne,
Gregory Isaacs,
Eddi Front,
The Move,
New Order,
Boz Scaggs,
Lakeside, Lakeside, Lakeside, Lakeside.
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.