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 San Marino and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Salvador 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 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 Yazoo to the disco 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 David Axelrod. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Symarip,
The Leaves,
X-101,
Aloha Tigers,
Ituana,
Guru Guru,
Davy DMX,
Lungfish,
Sun Ra Arkestra,
Lonnie Liston Smith,
The Shadows of Knight,
Mad Mike,
The Smiths,
Pierre Henry,
The Sonics,
The Stooges,
Orchestral Manoeuvres in the Dark,
Warren Ellis,
Nico,
The Blues Magoos,
Ajijia Myrayebe,
Major Organ And The Adding Machine,
Main Source,
Rhythm & Sound,
Sexual Harrassment,
John Cale,
The Move,
London Community Gospel Choir,
The Fugs,
Funky Four + One,
Eric Dolphy,
Adolescents,
Wings,
Bootsy's Rubber Band,
UT,
Godley & Creme,
The Peanut Butter Conspiracy,
The Grass Roots,
Jimmy McGriff,
Danielle Patucci,
Lee Hazlewood,
Man Eating Sloth,
U.S. Maple,
Soul Sonic Force,
Jeru the Damaja,
Kool G Rap & DJ Polo,
Desert Stars,
The Red Krayola,
Ultra Naté,
Oppenheimer Analysis,
DeepChord presents Echospace,
Todd Terry,
The Beau Brummels,
Brand Nubian,
Joensuu 1685,
The Music Machine,
Audionom,
Liliput, Liliput, Liliput, Liliput.
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.