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 Macedonia and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1972.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Crash Course in Science to the techno 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 Lyres. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Outsiders,
The Fugs,
Bluetip,
The Grass Roots,
The Index,
Boredoms,
The Barracudas,
Roy Ayers,
Pussy Galore,
The Invisible,
Joensuu 1685,
Sun City Girls,
ABC,
Tommy Roe,
Ultramagnetic MC's,
Ludus,
Shoche,
Sam Rivers,
Spandau Ballet,
Robert Hood,
Kaleidoscope,
Absolute Body Control,
KRS-One,
Connie Case,
Niagra,
Lou Reed,
Public Image Ltd.,
Aloha Tigers,
Dead Boys,
The Tremeloes,
Soulsonic Force,
the Germs,
The Angels of Light,
Sight & Sound,
Laurel Aitken,
Curtis Mayfield,
the Fania All-Stars,
Moebius,
Brothers Johnson,
Mo-Dettes,
Bootsy's Rubber Band,
Kurtis Blow,
Radio Birdman,
Pole,
Johnny Osbourne,
Ajijia Myrayebe,
The Durutti Column,
The Cowsills,
Inner City,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
Cheater Slicks,
Au Pairs,
Gang Gang Dance,
David Axelrod,
Kool Moe Dee,
Sad Lovers and Giants,
Dual Sessions,
Saccharine Trust,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.