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 Botswana and from Mexico City.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Lille 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 synthesizer 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 Notorious Big And Bone Thugs to the dance kids.
I played it at the Troubador.
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 Eric Copeland. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Vaughan Mason & Crew,
Susan Cadogan,
The Slackers,
Heaven 17,
This Heat,
Sugar Minott,
Suburban Knight,
Con Funk Shun,
X-Ray Spex,
Sarah Menescal,
Boredoms,
Neu!,
Grandmaster Flash and the Furious Five,
Symarip,
Glenn Branca,
Television,
Franke,
CMW,
Arthur Verocai,
London Community Gospel Choir,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Reed & Metallica,
Brass Construction,
ABBA,
Dorothy Ashby,
Man Parrish,
Organ,
Peter Gordon & Love of Life Orchestra,
Al Stewart,
The Royal Family And The Poor,
Interpol,
Nico,
Vladislav Delay,
Radio Birdman,
Super Lover Cee & Casanova Rud,
Reagan Youth,
Accadde A,
Pierre Henry,
Pussy Galore,
The Star Department,
D'Angelo,
kango's stein massive,
Duran Duran,
Bob Dylan,
Fad Gadget,
Bill Wells,
Rotary Connection,
Barrington Levy,
The Cosmic Jokers,
Slick Rick,
AZ,
The Fuzztones,
Excepter,
Liaisons Dangereuses,
The Kinks,
The West Coast Pop Art Experimental Band,
David Axelrod,
Rakim,
Quadrant,
the Germs,
Gil Scott-Heron & Brian Jackson,
Swell Maps,
Intrusion, Intrusion, Intrusion, Intrusion.
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.