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 Georgia and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Mexico City and Johannesburg.
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 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 Nile Rodgers 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 Faust to the electroclash kids.
I played it at the Troubador.
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 The Star Department. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Severed Heads 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Animal Collective,
Second Layer,
Pharoah Sanders,
The Alarm Clocks,
Tom Boy,
The Cowsills,
Flipper,
The Real Kids,
10cc,
Johnny Osbourne,
Masters at Work,
Frankie Knuckles,
EPMD,
The Fall,
Hasil Adkins,
Notorious BIG live in Amsterdam,
Sun Ra Arkestra,
Stockholm Monsters,
Carl Craig,
Little Man,
Banda Bassotti,
The Zeros,
Byron Stingily,
Kool Moe Dee,
De La Soul & Jungle Brothers,
Chrome,
Lindisfarne,
Marc Almond,
Tomorrow,
Laurel Aitken,
Howard Jones,
Crispy Ambulance,
Danielle Patucci,
Ultramagnetic MC's,
Slick Rick,
Cecil Taylor,
Rotary Connection,
The Gun Club,
Heaven 17,
Lalo Schifrin,
Ronan,
The Trojans,
Rakim,
Cymande,
Radiopuhelimet,
Kings Of Tomorrow,
Jesper Dahlbäck,
Funky Four + One,
Ohio Players,
Black Flag,
Nirvana,
The Chocolate Watch Band,
Scion,
Ralphi Rosario,
Matthew Halsall,
Cameo,
The Buckinghams,
Harmonia,
Eric Copeland,
Al Stewart,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.