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 Grenada and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1973.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Minnie Riperton to the dance 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 Sound Behaviour. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Stetsasonic,
Strawberry Alarm Clock,
Vainqueur,
Tears for Fears,
Isaac Hayes,
Echospace,
Laurel Aitken,
Make Up,
The Flesh Eaters,
The Sound,
Matthew Bourne,
Young Marble Giants,
Qualms,
The Grass Roots,
Ituana,
The Dirtbombs,
Richard Hell and the Voidoids,
Moebius,
Mission of Burma,
Althea and Donna,
Blossom Toes,
Heaven 17,
Girls At Our Best!,
John Holt,
Todd Terry,
Idris Muhammad,
The Doors,
Accadde A,
London Community Gospel Choir,
The Litter,
Kerrie Biddell,
Brothers Johnson,
Jacob Miller,
Jeff Mills,
AZ,
Rites of Spring,
Sad Lovers and Giants,
Throbbing Gristle,
Rod Modell,
Zero Boys,
CMW,
Yellowson,
Section 25,
Electric Light Orchestra,
Ronan,
Ultra Naté,
Crispian St. Peters,
PIL,
MC5,
The Neon Judgement,
Tomorrow,
Scratch Acid,
Technova,
The Cure,
Suburban Knight,
Soft Cell,
Ultramagnetic MC's,
This Heat,
Yusef Lateef,
Heavy D & The Boyz,
Derrick May,
Index,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.