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 St Kitts & Nevis and from Tehran.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Halifax and Toronto.
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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Shuggie Otis to the punk kids.
I played it at the Astoria.
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 Offenders. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Bang On A Can,
Fatback Band,
Gian Franco Pienzio,
Main Source,
Quando Quango,
Marshall Jefferson,
Guru Guru,
Pet Shop Boys,
Graham Central Station,
Arcadia,
Deakin,
Junior Murvin,
Grandmaster Flash and the Furious Five,
DJ Style,
Ossler,
Lungfish,
X-102,
Manfred Mann's Earth Band,
Steve Hackett,
X-101,
U.S. Maple,
The Kinks,
Mad Mike,
Siglo XX,
The Black Dice,
Idris Muhammad,
Desert Stars,
Barry Ungar,
Monolake,
Vainqueur,
Barclay James Harvest,
June of 44,
The Sonics,
Avey Tare's Slasher Flicks,
Shoche,
Nation of Ulysses,
Sly & The Family Stone,
Soft Cell,
Smog,
The Zeros,
Thompson Twins,
PIL,
Dr. Dre and Snoop Doggy Dog,
T.S.O.L.,
Pylon,
Bobbi Humphrey,
AZ,
Soul II Soul,
The Shadows of Knight,
Los Fastidios,
Rowland S Howard / Lydia Lunch,
Tomorrow,
In Retrospect,
Spandau Ballet,
Rapeman,
The Skatalites,
Freddie Wadling,
Severed Heads,
The Fugs,
The Techniques,
Skarface,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.