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 Norway and from Lagos.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school London 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Sugar Minott to the grunge kids.
I played it at the 40 Watt.
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 Godley & Creme. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Oneida,
Crime,
Theoretical Girls,
Junior Murvin,
Kevin Saunderson,
Alice Coltrane,
Electric Light Orchestra,
The Vogues,
The Fire Engines,
Lindisfarne,
Royal Trux,
Dave Gahan,
London Community Gospel Choir,
Nik Kershaw,
Avey Tare's Slasher Flicks,
Todd Rundgren,
La Düsseldorf,
Laurel Aitken,
Boredoms,
Aaron Thompson,
DJ Style,
Interpol,
The Velvet Underground,
Hasil Adkins,
Gil Scott Heron,
B.T. Express,
Y Pants,
Soulsonic Force,
Siglo XX,
The Stooges,
Desert Stars,
Echospace,
Bill Near,
Orchestral Manoeuvres in the Dark,
Bronski Beat,
Television Personalities,
Lungfish,
The Fugs,
Easy Going,
Gang of Four,
X-102,
Warsaw,
Newcleus,
Popol Vuh,
Joe Smooth,
Jeff Mills,
Bush Tetras,
Siouxsie and the Banshees,
Al Stewart,
ABC,
Jesper Dahlback,
Maurizio,
Notorious BIG live in Amsterdam,
The Shadows of Knight,
Television,
Skarface,
Buzzcocks,
Echo & the Bunnymen,
Pet Shop Boys,
Max Romeo,
Chrome,
Marshall Jefferson,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.