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 China and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when David Bowie 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 dance 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 Don Cherry. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Warsaw,
Notorious BIG live in Amsterdam,
Drive Like Jehu,
Los Fastidios,
Alton Ellis,
Rekid,
Gastr Del Sol,
Funky Four + One,
Newcleus,
Red Lorry Yellow Lorry,
Scott Walker,
Grey Daturas,
Dawn Penn,
Heavy D & The Boyz,
Nils Olav,
Black Flag,
Stockholm Monsters,
Monolake,
Sugar Minott,
Sight & Sound,
Aural Exciters,
Byron Stingily,
Tomorrow,
Symarip,
Ralphi Rosario,
Todd Terry,
Cabaret Voltaire,
Average White Band,
Niagra,
Minor Threat,
T.S.O.L.,
Maurizio,
The Walker Brothers,
Rhythm & Sound,
Can,
Camouflage,
Khruangbin,
Outsiders,
Godley & Creme,
Negative Approach,
The Residents,
Nick Fraelich,
Public Image Ltd.,
Minutemen,
Erasure,
the Swans,
Fear,
The Selecter,
Popol Vuh,
Al Stewart,
Richard Hell and the Voidoids,
Ultra Naté,
The Mummies,
Radiopuhelimet,
Gang Green,
Stetsasonic,
Minny Pops,
Panda Bear,
The Shadows of Knight,
Faraquet,
Swans,
Chris & Cosey,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.