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 Taiwan and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Columbus and Seoul.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Shadows of Knight to the rap 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 Black Pus. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal rock 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 a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Sandy B,
Malaria!,
B.T. Express,
Boz Scaggs,
Liaisons Dangereuses,
The American Breed,
Drexciya,
Spoonie Gee,
H. Thieme,
Prince Buster,
the Association,
Blancmange,
X-Ray Spex,
The Alarm Clocks,
Subhumans,
Wighnomy Brothers & Robag Wruhme,
Kings Of Tomorrow,
Wolf Eyes,
Banda Bassotti,
Gichy Dan,
Wally Richardson,
The Happenings,
The United States of America,
Charles Mingus,
June Days,
Byron Stingily,
DeepChord presents Echospace,
Pantaleimon,
Barrington Levy,
Hashim,
Kauko Röyhkä ja Narttu,
The Remains,
Andrew Ashong & Theo Parrish,
EPMD,
T. Rex,
LL Cool J,
The Beau Brummels,
Todd Rundgren,
Chris & Cosey,
Y Pants,
Letta Mbulu,
The Electric Prunes,
Davy DMX,
John Cale,
Girls At Our Best!,
Deutsch Amerikanische Freundschaft,
Matthew Bourne,
Visage,
The Cosmic Jokers,
The Gladiators,
Camouflage,
Roxy Music,
Desert Stars,
Duran Duran,
Delon & Dalcan,
Heaven 17,
The Gap Band,
kango's stein massive,
Al Stewart,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.