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 Kosovo and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1974.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Lou Reed 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 The Fortunes to the grunge kids.
I played it at the Spitz.
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 Monolake. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Curtis Mayfield 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Infiniti,
Black Bananas,
Nik Kershaw,
Captain Beefheart & His Magic Band,
The Kinks,
Crispian St. Peters,
Stiv Bators,
PIL,
Brick,
Sly & The Family Stone,
Funkadelic,
One Last Wish,
Todd Rundgren,
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
Pierre Henry,
The Pretty Things,
The Doors,
Davy DMX,
The Last Poets,
Eric Copeland,
Orchestral Manoeuvres in the Dark,
This Heat,
Maurizio,
The Cowsills,
U.S. Maple,
Spandau Ballet,
48th St. Collective,
The J.B.'s,
Brand Nubian,
Depeche Mode,
John Holt,
Desert Stars,
The Residents,
Nils Olav,
The Fire Engines,
Larry & the Blue Notes,
Audionom,
Rites of Spring,
Monolake,
H. Thieme,
David Bowie,
Camron Feat. Memphis Bleek And Beenie Seigel,
The American Breed,
The Selecter,
Carl Craig,
Lafayette Afro Rock Band,
Grauzone,
Robert Wyatt,
Echo & the Bunnymen,
Lou Reed,
Ken Boothe,
Big Daddy Kane,
Jeff Lynne,
Radiohead,
Alice Coltrane,
Siglo XX,
Roy Ayers,
Television Personalities,
Tropical Tobacco,
Rufus Thomas,
Groovy Waters,
Sunsets and Hearts,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.