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 Tonga 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 1969 to 1976.
I'm losing my edge.
To all the kids in Accra and Tokyo.
I'm losing my edge to the art-school Milan 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Kango’s Stein Massive to the techno kids.
I played it at the 40 Watt.
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 Bronski Beat. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Janne Schatter,
Strawberry Alarm Clock,
Newcleus,
The Residents,
Man Eating Sloth,
the Slits,
Supertramp,
Carl Craig,
Camouflage,
Matthew Halsall,
The Vogues,
The Monochrome Set,
Simply Red,
a-ha,
Captain Beefheart & His Magic Band,
Stockholm Monsters,
Little Man,
CMW,
The Cowsills,
Aaron Thompson,
The Stooges,
Scott Walker,
Morten Harket,
Red Lorry Yellow Lorry,
Model 500,
Crispian St. Peters,
The Star Department,
Scan 7,
48th St. Collective,
Curtis Mayfield,
Big Daddy Kane,
Chrome,
K-Klass,
Animal Collective,
Derrick Morgan,
Negative Approach,
10cc,
Ice-T,
Graham Central Station,
A Flock of Seagulls,
Notorious BIG live in Amsterdam,
Siouxsie and the Banshees,
Mantronix,
Darondo,
The Evens,
Jandek,
The Beau Brummels,
Second Layer,
E-Dancer,
Terrestrial Tones,
The Cramps,
June Days,
Peter and Kerry,
Cheater Slicks,
Orchestral Manoeuvres in the Dark,
Alice Coltrane,
Sam Rivers,
The Royal Family And The Poor,
Lee Hazlewood,
Pere Ubu,
Ponytail, Ponytail, Ponytail, Ponytail.
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.