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 Namibia and from Taipei.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lagos and London.
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 1977 at the first Human League practice in a loft in Sheffield.
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 Blake Baxter to the jazz kids.
I played it at the 40 Watt.
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 This Heat. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Lou Reed,
Icehouse,
Ultravox,
Michelle Simonal,
Siglo XX,
China Crisis,
Fluxion,
Section 25,
Echospace,
Black Bananas,
Soulsonic Force,
Bootsy Collins,
Ituana,
Strawberry Alarm Clock,
Piero Umiliani,
Rhythm & Sound,
Bobby Sherman,
Camouflage,
The West Coast Pop Art Experimental Band,
PIL,
Janne Schatter,
The Birthday Party,
The Music Machine,
Bang On A Can,
Grandmaster Flash,
Can,
Peter and Kerry,
The Zeros,
Robert Görl,
David Bowie,
Underground Resistance,
Cluster,
Nick Fraelich,
Byron Stingily,
A Certain Ratio,
Ten City,
Organ,
Super Lover Cee & Casanova Rud,
Bang on a Can All-Stars,
The Raincoats,
The Real Kids,
Public Image Ltd.,
This Heat,
Eric Dolphy,
Toni Rubio,
Main Source,
The Alarm Clocks,
Youth Brigade,
Silicon Teens,
Bobby Hutcherson,
Guru Guru,
Orchestral Manoeuvres in the Dark,
the Normal,
Jeff Lynne,
JFA,
Kerri Chandler,
the Human League,
The Trojans,
The Evens,
Visionaries,LMNO, T- Love & Iriscience,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.