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 United States and from Madrid.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Electric Light Orchestra to the dance kids.
I played it at the Hacienda.
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 Quantec. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
Jimmy McGriff,
EPMD,
John Holt,
Delta 5,
Oppenheimer Analysis,
Funky Four + One,
DNA,
Underground Resistance,
Cecil Taylor,
Flamin' Groovies,
John Lydon,
Lou Reed & Metallica,
Funkadelic,
Bizarre Inc.,
New York Dolls,
Joey Negro,
The Selecter,
New Order,
Pierre Henry,
Quadrant,
Gil Scott-Heron and Jamie xx,
Arcadia,
Robert Hood,
Bang on a Can All-Stars,
Soft Cell,
Lee Hazlewood,
Minnie Riperton,
Buzzcocks,
Organ,
Juan Atkins,
the Sonics,
Jacques Brel,
Bill Wells,
One Last Wish,
Young Marble Giants,
The Leaves,
Brothers Johnson,
Sticky Fingaz feat. Raekwon,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ludus,
Lower 48,
Kings Of Tomorrow,
Andrew Hill,
Sarah Menescal,
Peter and Kerry,
World's Most,
Q65,
Trumans Water,
The Gladiators,
DJ Sneak,
Hasil Adkins,
John Coltrane,
John Foxx,
Infiniti,
Sun City Girls,
Kenny Larkin,
Franke,
Wasted Youth,
Procol Harum,
The Dave Clark Five,
Moss Icon,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.