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 Kyrgyzstan and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Bronski Beat to the crunk 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 Con Funk Shun. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Dorothy Ashby 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
New Age Steppers,
Swell Maps,
The Blackbyrds,
Angels of Light & Akron/Family,
The Offenders,
Hoover,
A Certain Ratio,
The Red Krayola,
Bad Manners,
James White and The Blacks,
Piero Umiliani,
Rapeman,
Joey Negro,
Subhumans,
The Motions,
Lalo Schifrin,
The Fortunes,
Gil Scott Heron,
the Normal,
Trumans Water,
The Count Five,
Hardrive,
B.T. Express,
The Seeds,
Lyres,
Kango’s Stein Massive,
The Move,
The Gories,
Funkadelic,
Chris & Cosey,
Stockholm Monsters,
Procol Harum,
Cheater Slicks,
MDC,
The Human League,
Camouflage,
Heaven 17,
Lou Christie,
Soft Cell,
Symarip,
Lizzy Mercier Descloux,
Tomorrow,
It's A Beautiful Day,
The Barracudas,
Johnny Osbourne,
Mr. Review,
Deepchord,
Slave,
Infiniti,
Brass Construction,
Theoretical Girls,
Howard Jones,
Delta 5,
a-ha,
Peter and Kerry,
Fifty Foot Hose,
the Slits,
The Smoke,
Ultramagnetic MC's,
Spandau Ballet,
Bootsy Collins,
The Dave Clark Five,
Roger Hodgson,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.