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 Eritrea 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 1966 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 a-ha to the disco kids.
I played it at the Spitz.
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 Half Japanese. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Dennis Brown 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 '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Fat Boys,
Surgeon,
Thee Headcoats,
Bootsy's Rubber Band,
Lou Reed,
Eve St. Jones,
Glenn Branca,
The Chocolate Watch Band,
Make Up,
Sad Lovers and Giants,
Ossler,
Parry Music,
Intrusion,
The Vogues,
kango's stein massive,
Gian Franco Pienzio,
Organ,
Mandrill,
Andrew Ashong & Theo Parrish,
Amon Düül II,
The Barracudas,
The Cure,
Deakin,
Colin Newman,
Yusef Lateef,
Lee Hazlewood,
Rahsaan Roland Kirk,
Gichy Dan,
Dark Day,
Tubeway Army,
The Motions,
Ornette Coleman,
the Germs,
Neu!,
Fad Gadget,
Tomorrow,
Rapeman,
John Foxx,
Joe Finger,
Bang On A Can,
The Selecter,
Hashim,
Spoonie Gee,
Ohio Players,
Outsiders,
Amon Düül,
The Beau Brummels,
Roy Ayers Ubiquity,
Minor Threat,
The Young Rascals,
Connie Case,
Schoolly D,
Mars,
T. Rex,
Barrington Levy,
Blake Baxter,
The Mighty Diamonds,
Swell Maps,
Albert Ayler,
Ajijia Myrayebe,
Interpol,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.