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 Nicaragua and from Taipei.
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 Stockholm and Spokane.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 The Evens to the grime kids.
I played it at the Spitz.
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 Man Parrish. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Siouxsie and the Banshees,
Kool Moe Dee,
Pantytec,
The Modern Lovers,
Jawbox,
The Martian,
Minnie Riperton,
Deutsch Amerikanische Freundschaft,
Maurizio,
The Birthday Party,
Talk Talk,
Supertramp,
Eurythmics,
The Durutti Column,
Oneida,
Procol Harum,
Jerry's Kids,
Theoretical Girls,
Arthur Verocai,
Deakin,
Donald Byrd,
The Detroit Cobras,
Throbbing Gristle,
The Fugs,
The Men They Couldn't Hang,
Wasted Youth,
Mantronix,
John Coltrane,
Dead Boys,
the Bar-Kays,
Swans,
Glenn Branca,
Black Moon,
Steve Hackett,
The Velvet Underground,
Orchestral Manoeuvres in the Dark,
Carl Craig,
The Victims,
Skarface,
Quantec,
Icehouse,
Fat Boys,
Angels of Light & Akron/Family,
Lizzy Mercier Descloux,
Q and Not U,
Minor Threat,
Ornette Coleman,
Art Ensemble Of Chicago,
The Gladiators,
World's Most,
Hardrive,
Grandmaster Flash,
DJ Sneak,
Panda Bear,
Cabaret Voltaire,
Jerry Gold Smith,
The Residents,
Beasts of Bourbon,
48th St. Collective,
Fad Gadget,
The Dead C,
Ludus,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.