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 Indonesia and from Toronto.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lonnie Liston Smith to the dance 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 K-Klass. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
B.T. Express,
Heavy D & The Boyz,
Slick Rick,
Camouflage,
The Cosmic Jokers,
Rosa Yemen,
Crash Course in Science,
Gregory Isaacs,
Judy Mowatt,
Ajijia Myrayebe,
Selector Dub Narcotic,
Donald Byrd,
Sticky Fingaz feat. Raekwon,
Alice Coltrane,
Kurtis Blow,
T.S.O.L.,
AZ,
Roger Hodgson,
Rhythim Is Rhythim,
Sandy B,
The Cure,
Country Teasers,
Lee Hazlewood,
The Mighty Diamonds,
David Axelrod,
Gang Starr,
Hoover,
Vladislav Delay,
Lungfish,
The Leaves,
The Skatalites,
John Coltrane,
The Alarm Clocks,
Unwound,
Mars,
The Pop Group,
Soul Sonic Force,
Trumans Water,
Althea and Donna,
Alphaville,
Tropical Tobacco,
Teenage Jesus and the Jerks,
Kas Product,
FM Einheit,
The Royal Family And The Poor,
the Slits,
Tubeway Army,
Moby Grape,
Intrusion,
Maleditus Sound,
Fort Wilson Riot,
Organ,
Electric Light Orchestra,
Brick,
Kaleidoscope,
Urselle,
Jacob Miller,
Marmalade,
Robert Wyatt,
Lucky Dragons,
Lyres,
Public Image Ltd.,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.