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 Palau and from Mumbai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Madrid 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 rhodes 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 Lalann to the grime kids.
I played it at the Troubador.
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 The Zeros. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The J.B.'s,
Eric Copeland,
The Mojo Men,
Vladislav Delay,
Girls At Our Best!,
Dorothy Ashby,
The Trojans,
Röyhkä ja Rättö ja Lehtisalo,
June of 44,
Altered Images,
the Soft Cell,
Rahsaan Roland Kirk,
Oblivians,
The Happenings,
The Knickerbockers,
The Durutti Column,
Fat Boys,
The Neon Judgement,
Accadde A,
Q and Not U,
Flipper,
The Techniques,
This Heat,
Major Organ And The Adding Machine,
Cal Tjader,
Notorious BIG live in Amsterdam,
Con Funk Shun,
Thinking Fellers Union Local 282,
Juan Atkins,
Robert Wyatt,
Marvin Gaye,
Yaz,
Avey Tare,
Warren Ellis,
Technova,
Ash Ra Tempel,
Von Mondo,
Cabaret Voltaire,
Essential Logic,
Pylon,
The Men They Couldn't Hang,
Albert Ayler,
Skaos,
Hot Snakes,
A Flock of Seagulls,
Kango’s Stein Massive,
Vaughan Mason & Crew,
The Blues Magoos,
Mark Hollis,
Toni Rubio,
Buzzcocks,
Japan,
Siglo XX,
Freddie Wadling,
Dawn Penn,
Stetsasonic,
Josef K,
Kerri Chandler,
Marmalade,
Sonic Youth,
Reagan Youth,
Delon & Dalcan,
Yazoo, Yazoo, Yazoo, Yazoo.
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.