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 Iraq and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Halifax 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 arpeggiator 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 Kurtis Blow to the punk kids.
I played it at the Crocodile.
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 Rekid. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Glambeats Corp.,
the Soft Cell,
Au Pairs,
Inner City,
Banda Bassotti,
Todd Terry,
Desert Stars,
New Age Steppers,
John Lydon,
Essential Logic,
Johnny Osbourne,
Notorious Big And Bone Thugs,
Donny Hathaway,
Marc Almond,
Andrew Ashong & Theo Parrish,
Camouflage,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dr. Dre and Snoop Doggy Dog,
Eric Dolphy,
Roxy Music,
Graham Central Station,
The Dave Clark Five,
Joyce Sims,
Crispian St. Peters,
Jandek,
Faraquet,
The Fuzztones,
Intrusion,
Minnie Riperton,
Major Organ And The Adding Machine,
The Doors,
Rotary Connection,
Sex Pistols,
Bluetip,
Young Marble Giants,
Scan 7,
Pharaoh Sanders and the Fire Engines,
Radiopuhelimet,
Jesper Dahlbäck,
John Coltrane,
Tres Demented,
Angry Samoans,
Cheater Slicks,
Bronski Beat,
Delta 5,
PIL,
Sam Rivers,
The Young Rascals,
Loose Ends,
David McCallum,
Hoover,
Infiniti,
the Sonics,
Kenny Larkin,
John Cale,
The American Breed,
Newcleus,
Steve Hackett,
The Sisters of Mercy,
Dorothy Ashby,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.