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 Burundi and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Joe Smooth to the techno kids.
I played it at Cafe Wha.
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 Harpers Bizarre. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Lower 48,
Bronski Beat,
Donald Byrd,
The Beau Brummels,
Super Lover Cee & Casanova Rud,
Don Cherry,
Wire,
Franke,
Marine Girls,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
Saccharine Trust,
Heaven 17,
Albert Ayler,
Eyeless In Gaza,
The Knickerbockers,
Parry Music,
Skarface,
Sparks,
The Neon Judgement,
Arcadia,
Justin Hinds & The Dominoes,
Pere Ubu,
Mandrill,
Donny Hathaway,
Kaleidoscope,
The Stooges,
John Coltrane,
Maleditus Sound,
London Community Gospel Choir,
Roy Ayers,
The Sisters of Mercy,
Amon Düül,
Delon & Dalcan,
The Remains,
The Dead C,
The Alarm Clocks,
Blancmange,
Godley & Creme,
Suburban Knight,
Guru Guru,
Minutemen,
Ultimate Spinach,
The Raincoats,
Scion,
The Monochrome Set,
Eve St. Jones,
Rites of Spring,
Pantaleimon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lee Hazlewood,
Soul Sonic Force,
The Pretty Things,
Cameo,
Soft Cell,
Eli Mardock,
Sun Ra,
DNA,
The Music Machine,
Q and Not U,
Joe Finger,
Thinking Fellers Union Local 282,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.