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 Suriname and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Vaughan Mason & Crew to the punk kids.
I played it at CBGB's.
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 Davy DMX. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff 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?
Deakin,
Kings Of Tomorrow,
Slave,
Minutemen,
X-102,
The Associates,
Flash Fearless,
Mission of Burma,
Adolescents,
June Days,
Nils Olav,
Louis and Bebe Barron,
Symarip,
The Alarm Clocks,
World's Most,
Stetsasonic,
The Men They Couldn't Hang,
Urselle,
Rhythim Is Rhythim,
Spandau Ballet,
D'Angelo,
Niagra,
Alison Limerick,
Radio Birdman,
The Vogues,
Alice Coltrane,
Pete Rock & C.L. Smooth,
Johnny Osbourne,
Tropical Tobacco,
Y Pants,
Animal Collective,
Amon Düül,
Larry & the Blue Notes,
Talk Talk,
Basic Channel,
Hashim,
Deadbeat,
This Heat,
Sarah Menescal,
The American Breed,
Laurel Aitken,
DeepChord presents Echospace,
Severed Heads,
The Detroit Cobras,
Dual Sessions,
It's A Beautiful Day,
Orchestral Manoeuvres in the Dark,
Tears for Fears,
Drexciya,
The Beau Brummels,
Barry Ungar,
Ornette Coleman,
Chris & Cosey,
Brass Construction,
Das Ding,
Altered Images,
Zero Boys,
Gil Scott Heron,
Moss Icon,
Reuben Wilson,
Bobbi Humphrey,
Au Pairs,
Shoche, Shoche, Shoche, Shoche.
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.