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 Korea North and from Jakarta.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Manchester 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Erasure to the rock 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 Sam Rivers. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Be Bop Deluxe 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
John Coltrane,
Accadde A,
Marine Girls,
Wally Richardson,
Mars,
Ken Boothe,
Skarface,
Procol Harum,
Youth Brigade,
PIL,
Visage,
The Dead C,
Essential Logic,
K-Klass,
Ajijia Myrayebe,
Kool Moe Dee,
Smog,
Lafayette Afro Rock Band,
Lucky Dragons,
X-101,
Gerry Rafferty,
Whodini,
Teenage Jesus and the Jerks,
David Bowie,
Maleditus Sound,
CMW,
The Blackbyrds,
The Pretty Things,
Röyhkä ja Rättö ja Lehtisalo,
Letta Mbulu,
The Offenders,
Sunsets and Hearts,
The Alarm Clocks,
a-ha,
Cheater Slicks,
Eric Copeland,
Kauko Röyhkä ja Narttu,
John Foxx,
Flash Fearless,
China Crisis,
The West Coast Pop Art Experimental Band,
Los Fastidios,
Josef K,
Sällskapet,
the Fania All-Stars,
Piero Umiliani,
Nico,
Neil Young & Crazy Horse,
Jandek,
Dead Boys,
Yaz,
Curtis Mayfield,
Albert Ayler,
Banda Bassotti,
Pharaoh Sanders and the Fire Engines,
Wighnomy Brothers & Robag Wruhme,
Blancmange,
Bill Near,
Gian Franco Pienzio,
Arab on Radar,
Traffic Nightmare,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.