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 Morocco and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Paris 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 theremin 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 Lou Reed to the crunk 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 Jesper Dahlback. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Gang Green 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 '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Sällskapet,
Andrew Hill,
Bobbi Humphrey,
Bill Near,
Rahsaan Roland Kirk,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Cymande,
Joy Division,
Soft Machine,
Sam Rivers,
Brass Construction,
The Busters,
Johnny Clarke,
Gang of Four,
Stereo Dub,
Bobby Hutcherson,
Thompson Twins,
The Selecter,
Sad Lovers and Giants,
The Vogues,
The Electric Prunes,
the Association,
Stetsasonic,
The American Breed,
Siglo XX,
The Cowsills,
The Birthday Party,
48th St. Collective,
Nick Fraelich,
Lower 48,
Bad Manners,
The Black Dice,
Pierre Henry,
Prince Buster,
The Dead C,
Toni Rubio,
Connie Case,
kango's stein massive,
Barry Ungar,
Teenage Jesus and the Jerks,
Q and Not U,
The Neon Judgement,
R.M.O.,
Youth Brigade,
Albert Ayler,
Suburban Knight,
Joyce Sims,
Loose Ends,
The Martian,
T.S.O.L.,
Todd Rundgren,
Trumans Water,
Quando Quango,
Nils Olav,
Man Eating Sloth,
The Invisible,
The Sonics,
Freddie Wadling,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.