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 Chad and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Houston 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 Youth Brigade to the funk kids.
I played it at Cafe Wha.
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 Hashim. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every The Litter 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
The Fugs,
The Buckinghams,
Man Eating Sloth,
EPMD,
Oppenheimer Analysis,
Henry Cow,
Ultra Naté,
Liaisons Dangereuses,
Jesper Dahlbäck,
The Misunderstood,
Hasil Adkins,
The Cure,
Peter and Kerry,
Heaven 17,
Bad Manners,
Skriet,
Ten City,
The Gap Band,
Lou Reed & Metallica,
Skarface,
Eden Ahbez,
Todd Terry,
Arab on Radar,
Pantaleimon,
KRS-One,
Albert Ayler,
Ornette Coleman,
Pole,
Johnny Clarke,
Kerri Chandler,
Ralphi Rosario,
Bobbi Humphrey,
Echospace,
Fatback Band,
Bobby Byrd,
Sixth Finger,
Nico,
Fluxion,
Joey Negro,
Electric Light Orchestra,
Suburban Knight,
Jacob Miller,
Sun Ra Arkestra,
Kerrie Biddell,
Icehouse,
Jacques Brel,
Jeru the Damaja,
Angry Samoans,
Gastr Del Sol,
The Raincoats,
These Immortal Souls,
The Move,
Dawn Penn,
Scratch Acid,
The Blackbyrds,
Yaz,
Sly & The Family Stone,
The Angels of Light,
The Smiths,
Amon Düül II,
The Mojo Men,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.