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 Liberia and from Houston.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Accra.
I'm losing my edge to the art-school Beijing 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Brothers Johnson to the funk kids.
I played it at the Roxy.
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 Mandrill. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Letta Mbulu 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 '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell 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?
Bill Near,
Super Lover Cee & Casanova Rud,
Eli Mardock,
Mr. Review,
Sight & Sound,
Zero Boys,
Sarah Menescal,
Marshall Jefferson,
Bauhaus,
Inner City,
Glambeats Corp.,
Absolute Body Control,
Essential Logic,
Minnie Riperton,
Dark Day,
Quando Quango,
Whodini,
Sixth Finger,
Darondo,
Kurtis Blow,
JFA,
DeepChord presents Echospace,
Jacob Miller,
Hasil Adkins,
Ralphi Rosario,
Davy DMX,
Guru Guru,
Icehouse,
E-Dancer,
Larry & the Blue Notes,
Porter Ricks,
The Zeros,
Kerrie Biddell,
Rites of Spring,
Young Marble Giants,
Pete Rock & C.L. Smooth,
X-102,
Yusef Lateef,
Bush Tetras,
The Young Rascals,
John Coltrane,
Cheater Slicks,
The Flesh Eaters,
Theoretical Girls,
Aswad,
Scion,
The Golliwogs,
The Residents,
Banda Bassotti,
Suburban Knight,
The Mojo Men,
Al Stewart,
Sun Ra,
Grauzone,
Mission of Burma,
Oneida,
John Holt,
Beasts of Bourbon,
Steve Hackett,
The Move, The Move, The Move, The Move.
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.