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 Brunei and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Seoul 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 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 Byron Stingily to the funk 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 Lebanon Hanover. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Tears for Fears 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 '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Banda Bassotti,
Loose Ends,
Basic Channel,
Das Ding,
Gregory Isaacs,
Oneida,
John Coltrane,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Black Moon,
Deepchord,
Excepter,
CMW,
Dorothy Ashby,
The Cosmic Jokers,
John Lydon,
Whodini,
the Normal,
Warren Ellis,
Chris & Cosey,
Richard Hell and the Voidoids,
Half Japanese,
The Busters,
The Neon Judgement,
8 Eyed Spy,
The Cowsills,
Sugar Minott,
Soft Machine,
Rekid,
Slave,
Pierre Henry,
Red Lorry Yellow Lorry,
The Saints,
Toni Rubio,
Fela Kuti,
Yazoo,
Warsaw,
The J.B.'s,
Fluxion,
The Red Krayola,
Procol Harum,
Lee Hazlewood,
Moby Grape,
Simply Red,
Pylon,
Lonnie Liston Smith,
The Happenings,
Marmalade,
The Human League,
Bobby Byrd,
Section 25,
Michelle Simonal,
the Fania All-Stars,
The Slackers,
Oppenheimer Analysis,
U.S. Maple,
The Black Dice,
Trumans Water,
Piero Umiliani,
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.