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 Kazakhstan and from Portland.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lille and London.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 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 Gary Puckett & The Union Gap 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 Guru Guru. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Black Dice,
Television Personalities,
Robert Hood,
Underground Resistance,
Sixth Finger,
Blake Baxter,
Sexual Harrassment,
Con Funk Shun,
The Smoke,
Johnny Clarke,
Alison Limerick,
UT,
Connie Case,
Skriet,
Sun Ra Arkestra,
The Five Americans,
Rekid,
The Fuzztones,
David Axelrod,
The Divine Comedy,
Ronnie Foster,
Anakelly,
DJ Style,
Soul II Soul,
Blancmange,
Fatback Band,
Lee Hazlewood,
Rhythim Is Rhythim,
Suburban Knight,
Roger Hodgson,
Mandrill,
Funky Four + One,
Ash Ra Tempel,
Funkadelic,
Unwound,
Glambeats Corp.,
Jesper Dahlback,
Cecil Taylor,
Sound Behaviour,
Jerry's Kids,
Lucky Dragons,
Tim Buckley,
Bobbi Humphrey,
Rod Modell,
Sun City Girls,
Porter Ricks,
Barrington Levy,
T. Rex,
The Invisible,
Gary Puckett & The Union Gap,
Stockholm Monsters,
Kevin Saunderson,
Pole,
New York Dolls,
Bootsy Collins,
Faust,
Nas,
Junior Murvin,
The Durutti Column,
Terror Squad Feat. Camron,
Pharaoh Sanders and the Fire Engines,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.