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 Australia and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when David Bowie 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 Pop Group to the crunk kids.
I played it at the Troubador.
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 Section 25. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Suburban Knight 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 '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Hoover,
Neu!,
Lightning Bolt,
Underground Resistance,
Ajijia Myrayebe,
The Associates,
The Motions,
UT,
Black Bananas,
Matthew Bourne,
Dual Sessions,
Sly & The Family Stone,
Moby Grape,
Aaron Thompson,
Little Man,
Pantaleimon,
Soul II Soul,
Eyeless In Gaza,
Fad Gadget,
Sandy B,
Delta 5,
Parry Music,
The Five Americans,
Kool Moe Dee,
Davy DMX,
Oneida,
Harpers Bizarre,
Terrestrial Tones,
Sarah Menescal,
Be Bop Deluxe,
FM Einheit,
Yusef Lateef,
The Barracudas,
Nils Olav,
Rhythm & Sound,
Tom Boy,
Max Romeo,
Alice Coltrane,
The Jesus and Mary Chain,
Big Daddy Kane,
Suburban Knight,
Quantec,
Das Ding,
K-Klass,
Maurizio,
It's A Beautiful Day,
the Sonics,
Mission of Burma,
Rhythim Is Rhythim,
Alton Ellis,
The Blues Magoos,
Robert Wyatt,
Slick Rick,
John Coltrane,
Duran Duran,
The Pop Group,
Ohio Players,
Outsiders,
Glambeats Corp.,
Fatback Band,
The Techniques, The Techniques, The Techniques, The Techniques.
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.