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 South Sudan and from Bologna.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Halifax 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 Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Japan to the punk 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 Malaria!. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Isaac Hayes,
Eve St. Jones,
Radio Birdman,
Clear Light,
David McCallum,
Faraquet,
Rekid,
Peter & Gordon,
Sarah Menescal,
The Toasters,
Wighnomy Brothers & Robag Wruhme,
Althea and Donna,
Unwound,
Delon & Dalcan,
Oblivians,
Delta 5,
Electric Light Orchestra,
Mars,
The Selecter,
Cabaret Voltaire,
Scion,
Kevin Saunderson,
Soul Sonic Force,
Eric Copeland,
Roy Ayers Ubiquity,
Bobby Byrd,
Marshall Jefferson,
Angry Samoans,
The Alarm Clocks,
cv313,
Kings Of Tomorrow,
Black Flag,
Grandmaster Flash and the Furious Five,
Ronnie Foster,
T.S.O.L.,
Eric Dolphy,
L. Decosne,
Neil Young,
Minnie Riperton,
Japan,
Joyce Sims,
Whodini,
Liliput,
A Flock of Seagulls,
Half Japanese,
Country Teasers,
The Cure,
The Mummies,
Siouxsie and the Banshees,
Dual Sessions,
Soulsonic Force,
Bill Wells,
Skarface,
The Fall,
Lakeside,
Bobby Sherman,
Robert Görl,
Ash Ra Tempel,
Byron Stingily,
Gang Gang Dance,
Index, Index, Index, Index.
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.