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 Malta and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 the Soft Cell to the electroclash kids.
I played it at the Crocodile.
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 Terry Callier. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Yaz 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Surgeon,
Outsiders,
Unrelated Segments,
New Order,
Curtis Mayfield,
Fort Wilson Riot,
Popol Vuh,
Dual Sessions,
Shuggie Otis,
Inner City,
Procol Harum,
Excepter,
Liliput,
Rowland S Howard / Lydia Lunch,
the Soft Cell,
T. Rex,
Rites of Spring,
Sugar Minott,
Barrington Levy,
Bronski Beat,
Oblivians,
MDC,
Sex Pistols,
Art Ensemble Of Chicago,
Ronan,
Eden Ahbez,
Dorothy Ashby,
Kerrie Biddell,
Gong,
The Evens,
Brick,
Sun Ra Arkestra,
Rakim,
Erasure,
Larry & the Blue Notes,
Quadrant,
Pylon,
Pharoah Sanders,
The Shadows of Knight,
Bob Dylan,
Fluxion,
Alison Limerick,
The Real Kids,
Goldenarms,
Lebanon Hanover,
Traffic Nightmare,
Josef K,
Rapeman,
Ajijia Myrayebe,
Lou Reed & John Cale,
Lightning Bolt,
Ralphi Rosario,
Black Bananas,
Q65,
LL Cool J,
China Crisis,
Marc Almond,
Gang Green,
the Germs,
Masters at Work,
Intrusion,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.