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 Ethiopia and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Manchester 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Jacob Miller to the grime kids.
I played it at Cafe Wha.
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 Camberwell Now. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Oblivians 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Joy Division,
KRS-One,
The Cosmic Jokers,
48th St. Collective,
The Move,
Quadrant,
Johnny Osbourne,
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
The Gap Band,
Big Daddy Kane,
The Raincoats,
Swans,
Byron Stingily,
The United States of America,
Peter and Kerry,
Scrapy,
Crooked Eye,
Ponytail,
DNA,
The Sisters of Mercy,
Rites of Spring,
Quantec,
Porter Ricks,
Gabor Szabo,
Excepter,
Nik Kershaw,
The Pop Group,
The Smoke,
Sarah Menescal,
Sonny Sharrock,
Ultimate Spinach,
The Names,
Jawbox,
Kauko Röyhkä ja Narttu,
Rod Modell,
Thee Headcoats,
Main Source,
The Gladiators,
Visionaries,LMNO, T- Love & Iriscience,
Bobby Sherman,
Grauzone,
LL Cool J,
Wasted Youth,
The Barracudas,
Strawberry Alarm Clock,
Lakeside,
James Chance & The Contortions,
Lou Reed & Metallica,
Avey Tare's Slasher Flicks,
Banda Bassotti,
a-ha,
DeepChord presents Echospace,
Kevin Saunderson,
Fear,
Sexual Harrassment,
The Monochrome Set,
The Associates,
Ornette Coleman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
Faust, Faust, Faust, Faust.
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.