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 United States and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 rhodes 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 Ultramagnetic MC's to the grunge kids.
I played it at CBGB's.
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 Agent Orange. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Marcia Griffiths,
Ultravox,
Charles Mingus,
Sad Lovers and Giants,
The Detroit Cobras,
Rhythim Is Rhythim,
Vainqueur,
Ice-T,
Matthew Bourne,
The West Coast Pop Art Experimental Band,
Oppenheimer Analysis,
Marshall Jefferson,
Inner City,
Heavy D & The Boyz,
Newcleus,
The Durutti Column,
Scott Walker,
Kurtis Blow,
The Raincoats,
The Cosmic Jokers,
Connie Case,
Jeff Mills,
D'Angelo,
Bill Near,
Pussy Galore,
The Barracudas,
Cabaret Voltaire,
The Dirtbombs,
Franke,
James Chance & The Contortions,
Magma,
Red Lorry Yellow Lorry,
Cal Tjader,
Basic Channel,
Surgeon,
Slave,
Stiv Bators,
Joey Negro,
Kango’s Stein Massive,
Avey Tare's Slasher Flicks,
Anakelly,
Schoolly D,
Reagan Youth,
Selector Dub Narcotic,
Rosa Yemen,
Kevin Saunderson,
Magazine,
Blake Baxter,
The Sisters of Mercy,
Gerry Rafferty,
One Last Wish,
Banda Bassotti,
Johnny Osbourne,
Orchestral Manoeuvres in the Dark,
Neu!,
Terrestrial Tones,
Silicon Teens,
Manfred Mann's Earth Band,
The Music Machine,
The Monochrome Set,
Chris Corsano,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.