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 Guinea-Bissau and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Seoul 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 Robert Palmer 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 Kayak to the grime kids.
I played it at Cafe Wha.
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 Kayak. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Kings Of Tomorrow,
Inner City,
Wings,
Nils Olav,
Althea and Donna,
Marshall Jefferson,
Groovy Waters,
The Raincoats,
Marmalade,
The United States of America,
Al Stewart,
Mantronix,
Bobby Sherman,
Lou Reed & Metallica,
Kerrie Biddell,
Kas Product,
Franke,
Talk Talk,
Newcleus,
Mars,
Big Daddy Kane,
Tomorrow,
48th St. Collective,
Yazoo,
Boogie Down Productions,
Silicon Teens,
New Age Steppers,
Kool Moe Dee,
The Remains,
The Pop Group,
Ituana,
Camron Feat. Memphis Bleek And Beenie Seigel,
A Flock of Seagulls,
Terrestrial Tones,
Depeche Mode,
The Mummies,
Lou Reed & John Cale,
Eric Copeland,
Spoonie Gee,
Angry Samoans,
Sonny Sharrock,
The Music Machine,
the Association,
Beasts of Bourbon,
The Mighty Diamonds,
Nik Kershaw,
Strawberry Alarm Clock,
Japan,
Agitation Free,
Rosa Yemen,
Aloha Tigers,
Maleditus Sound,
The Cowsills,
Quantec,
Wire,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Aswad,
The Wake,
Man Parrish,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.