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 Montenegro and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Strawberry Alarm Clock 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 World's Most. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Tomorrow 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Kenny Larkin,
Bobby Byrd,
Audionom,
Alphaville,
Deakin,
Japan,
The Blackbyrds,
Malaria!,
Lucky Dragons,
Bootsy's Rubber Band,
Joy Division,
T.S.O.L.,
David Axelrod,
The Busters,
Alton Ellis,
Shoche,
E-Dancer,
Mad Mike,
Lakeside,
Pulsallama,
Kevin Saunderson,
Darondo,
Stereo Dub,
Drexciya,
Röyhkä ja Rättö ja Lehtisalo,
Eric Copeland,
The Litter,
D'Angelo,
Pussy Galore,
FM Einheit,
Jacques Brel,
Kayak,
Fifty Foot Hose,
Susan Cadogan,
Liliput,
PIL,
The Grass Roots,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jacob Miller,
Marc Romboy vs. Booka Shade,
ABBA,
Slick Rick,
Idris Muhammad,
The Monochrome Set,
Electric Light Orchestra,
Gong,
Rhythim Is Rhythim,
UT,
Jerry's Kids,
Model 500,
Ralphi Rosario,
Super Lover Cee & Casanova Rud,
The Gladiators,
The Royal Family And The Poor,
Skarface,
Camberwell Now,
Soft Machine,
Bang On A Can,
Traffic Nightmare,
Curtis Mayfield,
Gichy Dan,
The Fugs,
Notorious Big And Bone Thugs,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.