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 Seychelles and from Salvador.
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 1964 to 1977.
I'm losing my edge.
To all the kids in London and Glasgow.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Oneida to the grunge 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 Television Personalities. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Wake 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Frankie Knuckles,
Lou Christie,
Camron Feat. Memphis Bleek And Beenie Seigel,
Simply Red,
Liliput,
The Neon Judgement,
It's A Beautiful Day,
The J.B.'s,
X-102,
Intrusion,
Vaughan Mason & Crew,
Warsaw,
London Community Gospel Choir,
The Cosmic Jokers,
Ultimate Spinach,
Crime,
The Chocolate Watch Band,
Sugar Minott,
X-Ray Spex,
Section 25,
The Leaves,
Selector Dub Narcotic,
The Doobie Brothers,
Rufus Thomas,
Rosa Yemen,
Drexciya,
Jerry's Kids,
The Seeds,
The Moleskins,
Robert Görl,
Alton Ellis,
The Angels of Light,
Peter and Kerry,
The Peanut Butter Conspiracy,
KRS-One,
Underground Resistance,
Franke,
Dave Gahan,
The Monochrome Set,
Wally Richardson,
Sonny Sharrock,
Inner City,
MC5,
Lakeside,
F. McDonald,
The Misunderstood,
ABBA,
The Remains,
E-Dancer,
FM Einheit,
The Electric Prunes,
Terrestrial Tones,
R.M.O.,
The Moody Blues,
Boz Scaggs,
Zero Boys,
Eve St. Jones,
Thee Headcoats,
Radiohead,
Black Sheep,
Pagans,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.