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 Marshall Islands and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Sugar Minott to the dance 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 Circle Jerks. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal rock 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
La Düsseldorf,
Andrew Hill,
Pantaleimon,
The Index,
Dawn Penn,
Symarip,
Skaos,
The Litter,
Oneida,
Jesper Dahlback,
The Grass Roots,
Audionom,
Dave Gahan,
Clear Light,
David Axelrod,
Thompson Twins,
Steve Hackett,
Lizzy Mercier Descloux,
The Wake,
Skriet,
Depeche Mode,
Bronski Beat,
The Cure,
X-Ray Spex,
The Knickerbockers,
Eyeless In Gaza,
Silicon Teens,
Vladislav Delay,
The Cramps,
The Kinks,
The Leaves,
Chris Corsano,
Adolescents,
Unwound,
U.S. Maple,
Soft Cell,
Joensuu 1685,
Art Ensemble Of Chicago,
Wire,
Smog,
The Durutti Column,
Lyres,
Arthur Verocai,
John Holt,
Traffic Nightmare,
Boz Scaggs,
ABC,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Teasers,
The Music Machine,
The Detroit Cobras,
Ultimate Spinach,
Lonnie Liston Smith,
Davy DMX,
New Age Steppers,
The Blues Magoos,
Fear,
Kool G Rap & DJ Polo,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Public Enemy,
Yellowson,
The Selecter, The Selecter, The Selecter, The Selecter.
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.