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 Equatorial Guinea and from Lyon.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Milan 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 organ sounds with much patience.
I was there when Robert Palmer 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 Grey Daturas to the grunge 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 The Fall. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Panda Bear 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Happenings,
Soul Sonic Force,
Fort Wilson Riot,
La Düsseldorf,
Cymande,
Kool Moe Dee,
Liliput,
B.T. Express,
Rowland S Howard / Lydia Lunch,
the Human League,
Soulsonic Force,
Schoolly D,
Fat Boys,
Bang on a Can All-Stars,
The Techniques,
The Wake,
World's Most,
T. Rex,
Swans,
Notorious BIG live in Amsterdam,
Marmalade,
Spandau Ballet,
the Bar-Kays,
Piero Umiliani,
Soft Machine,
Eden Ahbez,
Trumans Water,
Glambeats Corp.,
Man Eating Sloth,
Man Parrish,
Drexciya,
Qualms,
Adolescents,
Unrelated Segments,
The Victims,
Tommy Roe,
The Invisible,
Procol Harum,
Yellowson,
Gil Scott Heron,
The Offenders,
Red Lorry Yellow Lorry,
Judy Mowatt,
Fatback Band,
Stiv Bators,
Mission of Burma,
Sonny Sharrock,
Gary Puckett & The Union Gap,
Harmonia,
Jerry's Kids,
Liaisons Dangereuses,
The Busters,
The Beau Brummels,
R.M.O.,
the Normal,
Wally Richardson,
Eli Mardock,
The Fall,
Negative Approach,
Lower 48,
Sun Ra,
The Sound,
The Count Five, The Count Five, The Count Five, The Count Five.
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.