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 Congo and from Seoul.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
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 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 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 UT to the disco kids.
I played it at the Crocodile.
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 Davy DMX. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
the Swans,
The Wake,
Ultra Naté,
Judy Mowatt,
The Fuzztones,
Minnie Riperton,
Model 500,
Crime,
Camberwell Now,
Bob Dylan,
Terror Squad Feat. Camron,
The Buckinghams,
Teenage Jesus and the Jerks,
Das Ding,
Don Cherry,
Black Moon,
Sam Rivers,
R.M.O.,
Röyhkä ja Rättö ja Lehtisalo,
Masters at Work,
Jandek,
Zapp,
Tim Buckley,
The Gun Club,
Bauhaus,
Talk Talk,
Crispy Ambulance,
Quando Quango,
Lafayette Afro Rock Band,
The Last Poets,
Robert Hood,
Kerrie Biddell,
Red Lorry Yellow Lorry,
Ultimate Spinach,
Kurtis Blow,
Pussy Galore,
Trumans Water,
Alison Limerick,
Letta Mbulu,
Todd Rundgren,
Tom Boy,
Pharaoh Sanders and the Fire Engines,
Siouxsie and the Banshees,
Angry Samoans,
Circle Jerks,
Whodini,
The Martian,
Fatback Band,
Grandmaster Flash,
John Foxx,
Aswad,
Flamin' Groovies,
Malaria!,
The Music Machine,
Mission of Burma,
Jawbox,
Lou Christie,
Tres Demented,
The Star Department,
The Durutti Column,
Roy Ayers Ubiquity,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.