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 Afghanistan and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Arthur Verocai to the crunk 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 PIL. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every H. Thieme 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Gil Scott Heron,
Soft Machine,
Icehouse,
Bill Near,
Sad Lovers and Giants,
Aloha Tigers,
Neu!,
Terrestrial Tones,
The Fugs,
Sonny Sharrock,
The Offenders,
Thompson Twins,
Eric Copeland,
Grandmaster Flash,
Angels of Light & Akron/Family,
Vainqueur,
Avey Tare & Kría Brekkan,
Angry Samoans,
Gian Franco Pienzio,
David Axelrod,
Sunsets and Hearts,
The West Coast Pop Art Experimental Band,
Camouflage,
Toni Rubio,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
Swell Maps,
the Bar-Kays,
X-101,
Letta Mbulu,
The Real Kids,
Neil Young,
Moby Grape,
Major Organ And The Adding Machine,
Andrew Hill,
Dual Sessions,
Isaac Hayes,
Nick Cave & The Bad Seeds,
Anakelly,
X-Ray Spex,
A Flock of Seagulls,
Masters at Work,
Funkadelic,
Skaos,
Chris & Cosey,
The Gladiators,
Mandrill,
Kool G Rap & DJ Polo,
Al Stewart,
Pulsallama,
Gerry Rafferty,
Symarip,
Public Image Ltd.,
The Tremeloes,
The Vogues,
T.S.O.L.,
Jerry's Kids,
The Blues Magoos,
Rites of Spring,
Grauzone, Grauzone, Grauzone, Grauzone.
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.