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 Switzerland and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 Brand Nubian to the rock kids.
I played it at Cafe Wha.
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 The Electric Prunes. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Grauzone,
Bobbi Humphrey,
Lee Hazlewood,
Swell Maps,
Desert Stars,
Inner City,
Crispy Ambulance,
Byron Stingily,
Mission of Burma,
Thinking Fellers Union Local 282,
Hardrive,
The Alarm Clocks,
Harpers Bizarre,
Joe Smooth,
Tomorrow,
Red Lorry Yellow Lorry,
Icehouse,
Bob Dylan,
Rites of Spring,
Dennis Brown,
The Move,
Ultra Naté,
Henry Cow,
Deakin,
Eric B and Rakim,
The Toasters,
Barrington Levy,
Heaven 17,
Audionom,
Bobby Byrd,
Pylon,
Bang On A Can,
Crash Course in Science,
John Cale,
Sunsets and Hearts,
Arab on Radar,
Blake Baxter,
Lebanon Hanover,
the Soft Cell,
Nils Olav,
Soft Machine,
Dr. Dre and Snoop Doggy Dog,
X-Ray Spex,
The Names,
Sight & Sound,
Kings Of Tomorrow,
Ronnie Foster,
The Pop Group,
Darondo,
OOIOO,
Ultravox,
Silicon Teens,
The Cosmic Jokers,
Curtis Mayfield,
Archie Shepp,
Be Bop Deluxe,
Amon Düül,
The Techniques,
The Monks,
Larry & the Blue Notes,
Captain Beefheart & His Magic Band,
Fear, Fear, Fear, Fear.
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.