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 Mexico and from Tehran.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Interpol to the disco 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 The Remains. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Urselle 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Yazoo,
Buzzcocks,
Nik Kershaw,
E-Dancer,
Lou Reed & Metallica,
Kurtis Blow,
Pantytec,
Scratch Acid,
Nick Fraelich,
The West Coast Pop Art Experimental Band,
The Men They Couldn't Hang,
Joy Division,
Roy Ayers,
The Royal Family And The Poor,
Piero Umiliani,
The Raincoats,
Sad Lovers and Giants,
Radiohead,
Lightning Bolt,
Sparks,
Roxette,
Robert Hood,
Moebius,
Jerry's Kids,
Brand Nubian,
Visage,
The Detroit Cobras,
Black Bananas,
Beasts of Bourbon,
Barrington Levy,
Neil Young & Crazy Horse,
Juan Atkins,
Laurel Aitken,
Patti Smith,
Spoonie Gee,
Joe Finger,
Aural Exciters,
Pet Shop Boys,
Frankie Knuckles,
The Moody Blues,
Swell Maps,
Michelle Simonal,
Thinking Fellers Union Local 282,
Inner City,
Fluxion,
Scion,
Slave,
Sunsets and Hearts,
The Five Americans,
Malaria!,
Lyres,
Delon & Dalcan,
It's A Beautiful Day,
The Zeros,
A Certain Ratio,
T. Rex,
Pussy Galore,
Liliput,
Cabaret Voltaire,
James White and The Blacks,
Main Source,
The Seeds, The Seeds, The Seeds, The Seeds.
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.