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 Lucia and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Mexico City 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 Soulsonic Force to the funk kids.
I played it at the Hacienda.
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 Prince Buster. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas 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?
Black Moon,
Bill Near,
Kool Moe Dee,
The Offenders,
Peter & Gordon,
Gang of Four,
Kenny Larkin,
Eyeless In Gaza,
De La Soul & Jungle Brothers,
Vladislav Delay,
the Fania All-Stars,
The Gories,
JFA,
Slave,
Arcadia,
Pere Ubu,
Man Eating Sloth,
Ash Ra Tempel,
Amon Düül,
The Black Dice,
Michelle Simonal,
Ronnie Foster,
Sun City Girls,
Nick Fraelich,
Avey Tare,
Japan,
The Seeds,
Selector Dub Narcotic,
Fad Gadget,
Sixth Finger,
Blancmange,
Deakin,
Amon Düül II,
Echospace,
Audionom,
K-Klass,
Section 25,
Junior Murvin,
Jerry Gold Smith,
Eurythmics,
The Cramps,
Negative Approach,
The Busters,
Lebanon Hanover,
Barrington Levy,
Sly & The Family Stone,
The Leaves,
The Modern Lovers,
The Pretty Things,
X-102,
Crispy Ambulance,
Lindisfarne,
Matthew Bourne,
Agent Orange,
Bobby Sherman,
Warsaw,
T. Rex,
Magazine,
Nirvana,
Tim Buckley,
Jeff Mills,
Jacques Brel,
The Monochrome Set,
The Velvet Underground,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.