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 Bangladesh and from Madrid.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Robert Wyatt to the electroclash 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 Sarah Menescal. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Electric Prunes,
Black Moon,
The Skatalites,
Pete Rock & C.L. Smooth,
Tres Demented,
Rhythim Is Rhythim,
The Human League,
Alphaville,
Isaac Hayes,
Stockholm Monsters,
Lee Hazlewood,
Visionaries,LMNO, T- Love & Iriscience,
T. Rex,
Slick Rick,
Cecil Taylor,
The Sound,
Deepchord,
Ash Ra Tempel,
Slave,
Brand Nubian,
Nick Fraelich,
Super Lover Cee & Casanova Rud,
Magma,
Public Enemy,
The Zeros,
The Smoke,
Mars,
Hashim,
Delon & Dalcan,
Radio Birdman,
David McCallum,
Make Up,
The Alarm Clocks,
Max Romeo,
Electric Light Orchestra,
Patti Smith,
Toni Rubio,
Dead Boys,
Robert Görl,
Byron Stingily,
The Toasters,
Sight & Sound,
The Vogues,
Bill Wells,
Accadde A,
Chris & Cosey,
Pantaleimon,
Girls At Our Best!,
The Trojans,
Mandrill,
Aloha Tigers,
the Association,
David Bowie,
Mad Mike,
Tears for Fears,
Pantytec,
Brass Construction,
Urselle,
June Days,
Smog,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.