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 Uganda and from Manchester.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Harpers Bizarre to the techno kids.
I played it at the Crocodile.
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 Michelle Simonal. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Lou Reed & Metallica,
Eric Copeland,
L. Decosne,
Gang of Four,
Sex Pistols,
Spoonie Gee,
Charles Mingus,
Cabaret Voltaire,
Scan 7,
The J.B.'s,
Scratch Acid,
Prince Buster,
The West Coast Pop Art Experimental Band,
The Mighty Diamonds,
Sonny Sharrock,
Brand Nubian,
Kool G Rap & DJ Polo,
Stereo Dub,
Terrestrial Tones,
Sticky Fingaz feat. Raekwon,
E-Dancer,
Derrick Morgan,
Vladislav Delay,
Ice-T,
Danielle Patucci,
Susan Cadogan,
Ajijia Myrayebe,
Black Sheep,
Curtis Mayfield,
H. Thieme,
The Stooges,
Ohio Players,
Spandau Ballet,
Ken Boothe,
The Human League,
The Motions,
The Techniques,
The Pretty Things,
Gil Scott-Heron & Brian Jackson,
Marcia Griffiths,
Black Moon,
Teenage Jesus and the Jerks,
Eddi Front,
Ituana,
Sight & Sound,
Aloha Tigers,
Tim Buckley,
the Soft Cell,
Index,
Monolake,
Donald Byrd,
OOIOO,
Fort Wilson Riot,
The Dave Clark Five,
Don Cherry,
Blossom Toes,
Bobbi Humphrey,
Siglo XX,
Lou Reed & John Cale,
Simply Red,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.