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 Japan and from Mumbai.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Lagos 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Desert Stars to the funk kids.
I played it at the Spitz.
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 Suburban Knight. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Peter & Gordon 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Gang Starr,
Bobbi Humphrey,
F. McDonald,
John Cale,
Max Romeo,
The Stooges,
The Pop Group,
Urselle,
The Move,
Pete Rock & C.L. Smooth,
A Certain Ratio,
Massinfluence,
Gang Gang Dance,
Visage,
Sugar Minott,
Traffic Nightmare,
The Slits,
Sight & Sound,
Crash Course in Science,
Neil Young & Crazy Horse,
Simply Red,
L. Decosne,
Thee Headcoats,
Eyeless In Gaza,
Underground Resistance,
Lyres,
Lou Reed & Metallica,
Lonnie Liston Smith,
Marmalade,
Scrapy,
T. Rex,
Alphaville,
Ohio Players,
the Soft Cell,
Graham Central Station,
Tropical Tobacco,
Oblivians,
Nils Olav,
Al Stewart,
Section 25,
Jawbox,
Q and Not U,
Jesper Dahlbäck,
Camberwell Now,
Lucky Dragons,
The Modern Lovers,
Kayak,
Morten Harket,
The Walker Brothers,
Sad Lovers and Giants,
James Chance & The Contortions,
Kurtis Blow,
Von Mondo,
Oppenheimer Analysis,
Drexciya,
Gichy Dan,
Thinking Fellers Union Local 282,
Beasts of Bourbon,
Electric Prunes,
Monolake,
The Victims,
Blake Baxter,
Rhythm & Sound,
The Names, The Names, The Names, The Names.
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.