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 Switzerland and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 The Knickerbockers 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 Sandy B. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every The Invisible 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Motorama,
The Flesh Eaters,
Mo-Dettes,
Bad Manners,
Sandy B,
David Bowie,
Pete Rock & C.L. Smooth,
Deutsch Amerikanische Freundschaft,
Nirvana,
Surgeon,
Marshall Jefferson,
Lafayette Afro Rock Band,
Eddi Front,
The Moleskins,
Vladislav Delay,
Boogie Down Productions,
Crispian St. Peters,
Yusef Lateef,
Negative Approach,
The Toasters,
The Mighty Diamonds,
Quantec,
Kaleidoscope,
Hashim,
the Soft Cell,
Sun Ra,
Con Funk Shun,
Derrick Morgan,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
Soft Cell,
Aloha Tigers,
D'Angelo,
Reuben Wilson,
Rhythm & Sound,
Bauhaus,
Los Fastidios,
Audionom,
Electric Light Orchestra,
Oppenheimer Analysis,
X-102,
Eyeless In Gaza,
Urselle,
Sunsets and Hearts,
Colin Newman,
Amon Düül II,
Infiniti,
Delta 5,
Minor Threat,
Blancmange,
Grandmaster Flash,
Pere Ubu,
Black Pus,
Magma,
Supertramp,
Magazine,
The Pop Group,
The Count Five,
F. McDonald,
China Crisis,
Slave,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.