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 Malaysia and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Madrid 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 organ sounds with much patience.
I was there when Holger Czukay 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 Crispy Ambulance to the punk 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 Prince Buster. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Human League,
The Associates,
Organ,
Ice-T,
Rufus Thomas,
The Chocolate Watch Band,
Camberwell Now,
Marmalade,
Saccharine Trust,
Black Moon,
The Slackers,
the Association,
Hasil Adkins,
Roger Hodgson,
F. McDonald,
Buzzcocks,
Jawbox,
Surgeon,
Howard Jones,
Morten Harket,
Pylon,
Siglo XX,
Banda Bassotti,
Rotary Connection,
Bush Tetras,
Basic Channel,
Rites of Spring,
The Busters,
Sonny Sharrock,
CMW,
Gregory Isaacs,
Heavy D & The Boyz,
Traffic Nightmare,
Marcia Griffiths,
Ultramagnetic MC's,
Deepchord,
The Durutti Column,
Masters at Work,
Roxy Music,
Lizzy Mercier Descloux,
Sugar Minott,
Al Stewart,
Kings Of Tomorrow,
Roy Ayers Ubiquity,
Massinfluence,
Technova,
Alison Limerick,
Neil Young,
Connie Case,
Flipper,
Sixth Finger,
Das Ding,
Wasted Youth,
Pantaleimon,
Country Joe & The Fish,
Hoover,
Deadbeat,
Nick Fraelich,
Pharoah Sanders,
MC5,
Camron Feat. Memphis Bleek And Beenie Seigel,
Manfred Mann's Earth Band,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.