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 Botswana and from Mexico City.
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 1976.
I'm losing my edge.
To all the kids in Paris and Bologna.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Bill Wells to the crunk 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 Ultra Naté. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Mandrill 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Minutemen,
The Fuzztones,
Warsaw,
Essential Logic,
The Blues Magoos,
Model 500,
The Monochrome Set,
Malaria!,
Gerry Rafferty,
Deadbeat,
Crime,
Gang of Four,
Be Bop Deluxe,
Curtis Mayfield,
Public Image Ltd.,
Bluetip,
CMW,
Yaz,
Electric Light Orchestra,
Buzzcocks,
Brass Construction,
Pantytec,
Donny Hathaway,
Ohio Players,
The American Breed,
Eric Copeland,
Bill Near,
Marcia Griffiths,
Schoolly D,
Ronan,
Au Pairs,
Tim Buckley,
The Leaves,
Siglo XX,
London Community Gospel Choir,
Andrew Hill,
Technova,
The Doors,
UT,
Porter Ricks,
Archie Shepp,
Lalo Schifrin,
Eurythmics,
Swans,
Delta 5,
Steve Hackett,
Kango’s Stein Massive,
Popol Vuh,
Agent Orange,
Peter and Kerry,
Bronski Beat,
Y Pants,
Pharaoh Sanders and the Fire Engines,
Barclay James Harvest,
The United States of America,
The Grass Roots,
The Fugs,
Bauhaus,
Gang Gang Dance,
Lyres,
Barrington Levy,
Nirvana,
the Association, the Association, the Association, the Association.
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.