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 United Kingdom and from Spokane.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Paris and Portland.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when David Bowie 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 Malaria! to the rap 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 Super Lover Cee & Casanova Rud. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Kerri Chandler 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
The Chocolate Watch Band,
Desert Stars,
Matthew Bourne,
Lou Reed & John Cale,
Avey Tare's Slasher Flicks,
Deutsch Amerikanische Freundschaft,
Main Source,
Rufus Thomas,
Ultramagnetic MC's,
Make Up,
David Axelrod,
Peter & Gordon,
Sonny Sharrock,
Kings Of Tomorrow,
Smog,
Mantronix,
EPMD,
Siouxsie and the Banshees,
Gastr Del Sol,
Darondo,
Ossler,
The Men They Couldn't Hang,
The Dirtbombs,
Excepter,
Liaisons Dangereuses,
A Certain Ratio,
Sandy B,
Nik Kershaw,
Nas,
Chris & Cosey,
Visage,
Andrew Hill,
The Grass Roots,
Rosa Yemen,
Icehouse,
Au Pairs,
Rotary Connection,
the Germs,
Cymande,
Essential Logic,
Skaos,
AZ,
Oblivians,
The Pop Group,
John Foxx,
James Chance & The Contortions,
Visionaries,LMNO, T- Love & Iriscience,
Nils Olav,
Echospace,
The Techniques,
Lou Reed & Metallica,
Reagan Youth,
Rites of Spring,
Man Parrish,
Franke,
The Gladiators,
Aloha Tigers,
Kayak,
B.T. Express,
Ponytail,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.