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 Mexico and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Tears for Fears to the electroclash kids.
I played it at Trash.
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 Popol Vuh. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
The Red Krayola,
Ice-T,
Brothers Johnson,
Peter & Gordon,
Index,
The Fuzztones,
Grauzone,
The Angels of Light,
Crime,
Pulsallama,
The Velvet Underground,
H. Thieme,
Ajijia Myrayebe,
Arthur Verocai,
Gang of Four,
the Association,
U.S. Maple,
Pharoah Sanders,
June of 44,
Dorothy Ashby,
The Grass Roots,
Loose Ends,
Danielle Patucci,
Judy Mowatt,
10cc,
Gil Scott-Heron & Brian Jackson,
Young Marble Giants,
The Doors,
Model 500,
Bad Manners,
8 Eyed Spy,
Swell Maps,
Maleditus Sound,
Quadrant,
A Certain Ratio,
Crispian St. Peters,
Q65,
Trumans Water,
Monks,
Sixth Finger,
Laurel Aitken,
The Offenders,
Jimmy McGriff,
The Cramps,
Sonic Youth,
Johnny Clarke,
Depeche Mode,
T. Rex,
Mr. Review,
Intrusion,
Mars,
The Moleskins,
Throbbing Gristle,
The Mummies,
Simply Red,
Terror Squad Feat. Camron,
Tomorrow,
Bobby Hutcherson,
De La Soul & Jungle Brothers,
Eve St. Jones,
Davy DMX,
The Remains, The Remains, The Remains, The Remains.
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.