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 Luxembourg and from Bologna.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 Tears for Fears to the grime 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 Henry Cow. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Lou Christie,
The Black Dice,
Japan,
Albert Ayler,
London Community Gospel Choir,
Harpers Bizarre,
Kings Of Tomorrow,
Public Image Ltd.,
Alphaville,
Pussy Galore,
Lucky Dragons,
Hot Snakes,
Organ,
The J.B.'s,
Joy Division,
Heaven 17,
Bronski Beat,
Eric Copeland,
Don Cherry,
Kaleidoscope,
Severed Heads,
Kool Moe Dee,
In Retrospect,
The Gories,
The Litter,
The Victims,
Franke,
The Mojo Men,
Todd Terry,
AZ,
Siglo XX,
The Last Poets,
Andrew Ashong & Theo Parrish,
Grandmaster Flash,
The Selecter,
Grandmaster Flash and the Furious Five,
The Golliwogs,
Jesper Dahlbäck,
Rekid,
Brothers Johnson,
Beasts of Bourbon,
Chrome,
Rites of Spring,
Pylon,
Tommy Roe,
Hoover,
The Modern Lovers,
Eden Ahbez,
Orchestral Manoeuvres in the Dark,
Popol Vuh,
Guru Guru,
Panda Bear,
Isaac Hayes,
Joey Negro,
the Sonics,
Cal Tjader,
Minny Pops,
Sound Behaviour,
Marvin Gaye,
Kool G Rap & DJ Polo,
The Human League,
Eric B and Rakim,
Carl Craig,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.