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 Panama and from Stockholm.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Toni Rubio to the techno kids.
I played it at CBGB's.
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 Easy Going. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal techno 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 a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Icehouse,
Jacques Brel,
Cluster,
The Leaves,
8 Eyed Spy,
Cheater Slicks,
10cc,
The Seeds,
Ponytail,
A Flock of Seagulls,
James White and The Blacks,
Mars,
B.T. Express,
Lindisfarne,
The Mojo Men,
The Misunderstood,
Stockholm Monsters,
The Walker Brothers,
Darondo,
Scion,
Sly & The Family Stone,
The Young Rascals,
Derrick Morgan,
New York Dolls,
Tim Buckley,
Avey Tare,
The Busters,
T.S.O.L.,
Basic Channel,
Isaac Hayes,
Glambeats Corp.,
Stetsasonic,
Moebius,
Livin' Joy,
Lalann,
The Birthday Party,
Tom Boy,
Sixth Finger,
Boz Scaggs,
The Raincoats,
Parry Music,
Sound Behaviour,
Lyres,
Scratch Acid,
Liaisons Dangereuses,
The Durutti Column,
Suicide,
the Human League,
Arthur Verocai,
Mantronix,
Strawberry Alarm Clock,
Bobby Hutcherson,
Howard Jones,
Sun Ra Arkestra,
Bluetip,
Mission of Burma,
Vainqueur,
Underground Resistance,
The Neon Judgement,
Aural Exciters,
Be Bop Deluxe,
AZ, AZ, AZ, AZ.
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.