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 St Lucia and from Portland.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Tokyo 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 Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Roy Ayers Ubiquity to the dance kids.
I played it at the Astoria.
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 Lou Reed. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a snare 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 organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Soul II Soul,
Notorious BIG live in Amsterdam,
The Dead C,
Banda Bassotti,
Gang Gang Dance,
Dennis Brown,
Dorothy Ashby,
The Gap Band,
Circle Jerks,
Sad Lovers and Giants,
Altered Images,
48th St. Collective,
KRS-One,
Art Ensemble Of Chicago,
Carl Craig,
The Skatalites,
Japan,
Yellowson,
Bobby Sherman,
The Associates,
Alison Limerick,
Easy Going,
Isaac Hayes,
Ornette Coleman,
Althea and Donna,
Richard Hell and the Voidoids,
U.S. Maple,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
K-Klass,
Ronan,
The Black Dice,
Average White Band,
Slick Rick,
The West Coast Pop Art Experimental Band,
Johnny Clarke,
D'Angelo,
Henry Cow,
Eden Ahbez,
DJ Style,
John Coltrane,
DNA,
Maurizio,
Rapeman,
Magma,
Intrusion,
Buzzcocks,
This Heat,
A Certain Ratio,
Pantaleimon,
Lower 48,
Harmonia,
The Saints,
Judy Mowatt,
Eve St. Jones,
Terrestrial Tones,
Avey Tare's Slasher Flicks,
FM Einheit,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.