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 Azerbaijan and from Delhi.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Manila 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 The Fall to the crunk kids.
I played it at the Troubador.
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 Pylon. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Wolf Eyes 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Sly & The Family Stone,
Zapp,
Joey Negro,
Black Moon,
Rhythim Is Rhythim,
Byron Stingily,
Minnie Riperton,
Pagans,
Man Eating Sloth,
Blossom Toes,
Robert Wyatt,
Electric Light Orchestra,
The Beau Brummels,
Bronski Beat,
Joyce Sims,
Section 25,
Charles Mingus,
Outsiders,
Adolescents,
Glambeats Corp.,
Alison Limerick,
Gang Green,
KRS-One,
Cymande,
Negative Approach,
Radio Birdman,
The Smiths,
a-ha,
Soul II Soul,
Soft Cell,
Delta 5,
Quando Quango,
The Cowsills,
Robert Görl,
Bobby Womack,
Archie Shepp,
Marcia Griffiths,
New Order,
The Moleskins,
The Slits,
David Axelrod,
Angry Samoans,
Loose Ends,
Strawberry Alarm Clock,
Skaos,
Cal Tjader,
Second Layer,
The Trojans,
Gabor Szabo,
Accadde A,
Monolake,
Sixth Finger,
Ituana,
Jesper Dahlback,
Television,
Anthony Braxton,
Metal Thangz,
The Techniques,
Maleditus Sound,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.