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 Nicaragua and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 Rakim to the funk kids.
I played it at the Astoria.
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 The Pretty Things. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Amon Düül,
Neil Young & Crazy Horse,
Major Organ And The Adding Machine,
Hashim,
Brothers Johnson,
Gregory Isaacs,
Prince Buster,
Notorious Big And Bone Thugs,
The United States of America,
CMW,
Qualms,
Chris Corsano,
The Remains,
Larry & the Blue Notes,
The Human League,
Art Ensemble Of Chicago,
the Normal,
Tim Buckley,
Donny Hathaway,
Iggy Pop,
Inner City,
The Fortunes,
Public Enemy,
Con Funk Shun,
Arab on Radar,
Steve Hackett,
Cabaret Voltaire,
The Shadows of Knight,
Bad Manners,
Bobby Womack,
Buzzcocks,
Franke,
Shuggie Otis,
Crime,
This Heat,
Thee Headcoats,
Tres Demented,
Kevin Saunderson,
Grandmaster Flash and the Furious Five,
UT,
Drexciya,
Davy DMX,
Camouflage,
Jerry Gold Smith,
Warren Ellis,
Soft Machine,
Boogie Down Productions,
Faraquet,
Sarah Menescal,
Ten City,
Sight & Sound,
Richard Hell and the Voidoids,
Bronski Beat,
Eli Mardock,
Johnny Clarke,
Skarface,
Peter and Kerry,
Janne Schatter,
James White and The Blacks,
Judy Mowatt,
Eurythmics,
Lower 48, Lower 48, Lower 48, Lower 48.
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.