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 Grenada and from Bremen.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Warsaw to the funk kids.
I played it at Trash.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Spandau Ballet,
Gil Scott-Heron and Jamie xx,
Television Personalities,
New Order,
The Barracudas,
Gong,
In Retrospect,
Rowland S Howard / Lydia Lunch,
Angels of Light & Akron/Family,
John Cale,
Ludus,
Eurythmics,
Pet Shop Boys,
The Count Five,
Duran Duran,
Joyce Sims,
Massinfluence,
Scratch Acid,
The Tremeloes,
Althea and Donna,
Bobby Hutcherson,
The Royal Family And The Poor,
Drive Like Jehu,
David McCallum,
Sight & Sound,
Byron Stingily,
Tubeway Army,
The Golliwogs,
Flash Fearless,
Boz Scaggs,
Cabaret Voltaire,
Little Man,
Gerry Rafferty,
Andrew Ashong & Theo Parrish,
The Pretty Things,
Chris Corsano,
Hasil Adkins,
The Beau Brummels,
Jimmy McGriff,
The J.B.'s,
Trumans Water,
Siglo XX,
Sugar Minott,
Patti Smith,
Dawn Penn,
Wasted Youth,
Colin Newman,
Tommy Roe,
Ituana,
Gian Franco Pienzio,
Loose Ends,
Quadrant,
DeepChord presents Echospace,
The Motions,
Scion,
Kurtis Blow,
Ronan,
Flipper,
Brothers Johnson,
The Leaves,
This Heat, This Heat, This Heat, This Heat.
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.