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 Guyana and from Salvador.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Organ to the grime kids.
I played it at Trash.
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 Morten Harket. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Yazoo,
Graham Central Station,
Arab on Radar,
the Swans,
Soft Cell,
Goldenarms,
Black Sheep,
the Association,
Tropical Tobacco,
The Zeros,
Sarah Menescal,
Arthur Verocai,
H. Thieme,
Brand Nubian,
The Monochrome Set,
Delta 5,
Throbbing Gristle,
Crooked Eye,
the Sonics,
Mark Hollis,
Cal Tjader,
Rufus Thomas,
Stiv Bators,
Swell Maps,
The Real Kids,
It's A Beautiful Day,
The Toasters,
Bobby Hutcherson,
Bobbi Humphrey,
Pagans,
LL Cool J,
Excepter,
Gil Scott Heron,
Altered Images,
Gregory Isaacs,
The Fortunes,
Sunsets and Hearts,
Connie Case,
kango's stein massive,
Second Layer,
MC5,
Visage,
Andrew Hill,
Derrick Morgan,
Kool G Rap & DJ Polo,
Archie Shepp,
Alison Limerick,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
Gang Gang Dance,
Yusef Lateef,
Quantec,
Lee Hazlewood,
Theoretical Girls,
Wighnomy Brothers & Robag Wruhme,
Franke,
Eric Dolphy,
De La Soul & Jungle Brothers,
The Slits,
Sandy B,
Rod Modell,
Bob Dylan,
The Searchers,
Minutemen, Minutemen, Minutemen, Minutemen.
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.