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 Bulgaria and from Tehran.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manila and Taipei.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 La Düsseldorf to the rap 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 the Soft Cell. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Erykah Badu 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Lou Christie,
Bill Wells,
The Sisters of Mercy,
The Skatalites,
Girls At Our Best!,
Swell Maps,
Avey Tare,
Sad Lovers and Giants,
Warsaw,
The Gap Band,
H. Thieme,
Max Romeo,
Sandy B,
Robert Görl,
Malaria!,
K-Klass,
Crime,
Gil Scott Heron,
Michelle Simonal,
Fat Boys,
Reuben Wilson,
Drive Like Jehu,
Brass Construction,
Terror Squad Feat. Camron,
Shuggie Otis,
Accadde A,
Rites of Spring,
Bobby Womack,
The Red Krayola,
Traffic Nightmare,
Jeff Mills,
Pussy Galore,
X-Ray Spex,
Ossler,
Vaughan Mason & Crew,
Hardrive,
Grandmaster Flash and the Furious Five,
Minutemen,
Strawberry Alarm Clock,
John Lydon,
De La Soul & Jungle Brothers,
The Tremeloes,
Super Lover Cee & Casanova Rud,
The Mojo Men,
Steve Hackett,
Terrestrial Tones,
James Chance & The Contortions,
Arthur Verocai,
Erykah Badu,
Boredoms,
Fad Gadget,
Dead Boys,
The Fall,
Essential Logic,
Jacob Miller,
Dennis Brown,
The Names,
Prince Buster,
Pierre Henry,
Roy Ayers,
Justin Hinds & The Dominoes,
Easy Going,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.