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 Japan and from Portland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Seoul and Mexico City.
I'm losing my edge to the art-school Jakarta 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 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 Kenny Larkin to the disco 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 Unrelated Segments. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Black Moon 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
John Cale,
Mary Jane Girls,
The New Christs,
Kings Of Tomorrow,
One Last Wish,
Echospace,
X-102,
Jacob Miller,
Hoover,
Man Eating Sloth,
Easy Going,
Steve Hackett,
Reuben Wilson,
Drexciya,
June of 44,
Groovy Waters,
Stetsasonic,
Avey Tare,
Glenn Branca,
Minnie Riperton,
Major Organ And The Adding Machine,
Radiohead,
The Blues Magoos,
Wighnomy Brothers & Robag Wruhme,
Rapeman,
Second Layer,
Pharoah Sanders,
Gil Scott Heron,
The Offenders,
Althea and Donna,
The Stooges,
Grandmaster Flash and the Furious Five,
Rufus Thomas,
Lucky Dragons,
Slick Rick,
Grauzone,
The Neon Judgement,
Absolute Body Control,
Art Ensemble Of Chicago,
Minor Threat,
K-Klass,
Ossler,
DNA,
Fear,
Newcleus,
Vladislav Delay,
Japan,
Country Teasers,
The Seeds,
Freddie Wadling,
Gil Scott-Heron and Jamie xx,
Delta 5,
Bang on a Can All-Stars,
Eden Ahbez,
Beasts of Bourbon,
Rotary Connection,
Dorothy Ashby,
Urselle,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.