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 Guyana and from Lille.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Matthew Bourne to the rock kids.
I played it at the Astoria.
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 B.T. Express. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Doors 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Rapeman,
Quadrant,
Liaisons Dangereuses,
John Holt,
The Peanut Butter Conspiracy,
Mandrill,
Ice-T,
Magma,
Tres Demented,
Sexual Harrassment,
Crooked Eye,
Mad Mike,
Soul II Soul,
Zapp,
Blake Baxter,
Alton Ellis,
Sonny Sharrock,
Scratch Acid,
Marshall Jefferson,
Pulsallama,
Aaron Thompson,
Eric B and Rakim,
Duran Duran,
Supertramp,
Avey Tare's Slasher Flicks,
Deepchord,
Talk Talk,
Erasure,
Beasts of Bourbon,
X-102,
Neu!,
Heaven 17,
Half Japanese,
Moss Icon,
Thee Headcoats,
Skarface,
Ituana,
Vaughan Mason & Crew,
Eve St. Jones,
The Move,
Sonic Youth,
The Saints,
Camberwell Now,
The Slits,
Moby Grape,
The Tremeloes,
Ponytail,
Graham Central Station,
Spoonie Gee,
Sparks,
The Sisters of Mercy,
The Cowsills,
Slave,
Wolf Eyes,
Letta Mbulu,
Glambeats Corp.,
The Durutti Column,
Fifty Foot Hose,
Gil Scott-Heron and Jamie xx,
Circle Jerks,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.