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 Saudi Arabia and from Houston.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Saints to the electroclash 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 The Cramps. All the underground hits.
All Cymande 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 disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar 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 spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Howard Jones,
Black Pus,
a-ha,
Rod Modell,
Camberwell Now,
Soft Cell,
Kas Product,
Joy Division,
Ornette Coleman,
Marine Girls,
The Litter,
Bauhaus,
Lalann,
Grandmaster Flash,
Eyeless In Gaza,
Gian Franco Pienzio,
Gichy Dan,
Glambeats Corp.,
Angry Samoans,
The Mighty Diamonds,
the Germs,
Mars,
The Slits,
Wasted Youth,
Joey Negro,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mandrill,
Morten Harket,
Judy Mowatt,
Swell Maps,
Suburban Knight,
The Wake,
Jawbox,
Wings,
Lonnie Liston Smith,
the Soft Cell,
Thee Headcoats,
Strawberry Alarm Clock,
The Toasters,
The Jesus and Mary Chain,
Moss Icon,
Carl Craig,
The Vogues,
Erykah Badu,
Public Enemy,
Accadde A,
Bobby Womack,
OOIOO,
Marvin Gaye,
The Fugs,
Model 500,
Cymande,
Sun City Girls,
Boogie Down Productions,
Al Stewart,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
The Velvet Underground,
Sandy B,
B.T. Express,
Camouflage,
Gastr Del Sol,
Lou Christie,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.