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 Cape Verde and from Tokyo.
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 Bremen and Madrid.
I'm losing my edge to the art-school Taipei 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Harmonia to the grime 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 Nick Fraelich. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
a-ha,
Bill Near,
Camron Feat. Memphis Bleek And Beenie Seigel,
Guru Guru,
Amazonics,
La Düsseldorf,
Joensuu 1685,
Terror Squad Feat. Camron,
Model 500,
Soft Cell,
Steve Hackett,
Leonard Cohen,
The Motions,
Bauhaus,
KRS-One,
The Cure,
Index,
Rosa Yemen,
Idris Muhammad,
Public Image Ltd.,
OOIOO,
The Fortunes,
Jacob Miller,
Motorama,
Jesper Dahlbäck,
Siouxsie and the Banshees,
Scott Walker,
The Five Americans,
Dr. Dre and Snoop Doggy Dog,
Harry Pussy,
Moebius,
The Toasters,
Cybotron,
Pylon,
Swans,
Lindisfarne,
Siglo XX,
Terrestrial Tones,
Chris & Cosey,
Throbbing Gristle,
Pierre Henry,
Glenn Branca,
Bizarre Inc.,
Mandrill,
The Standells,
Echospace,
Tomorrow,
The Buckinghams,
Marshall Jefferson,
Major Organ And The Adding Machine,
Audionom,
Little Man,
Ralphi Rosario,
This Heat,
Lakeside,
Ultramagnetic MC's,
Kerrie Biddell,
Sarah Menescal,
The Cramps,
Thompson Twins,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.