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 Solomon Islands and from Salvador.
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 1977.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Joe Smooth 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 James White and The Blacks. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
The Techniques,
T.S.O.L.,
Roxette,
Icehouse,
Joe Finger,
Section 25,
Jeff Mills,
Pantytec,
Au Pairs,
Sight & Sound,
Ossler,
Qualms,
Kaleidoscope,
One Last Wish,
The West Coast Pop Art Experimental Band,
The Alarm Clocks,
Sunsets and Hearts,
Ultra Naté,
In Retrospect,
Crooked Eye,
Circle Jerks,
Patti Smith,
Harmonia,
Quantec,
Anthony Braxton,
The Doobie Brothers,
Nas,
Soulsonic Force,
Lebanon Hanover,
Masters at Work,
Con Funk Shun,
Procol Harum,
Jerry's Kids,
Rapeman,
The Gories,
Harpers Bizarre,
E-Dancer,
Big Daddy Kane,
ABBA,
the Human League,
EPMD,
Clear Light,
Underground Resistance,
Bush Tetras,
Grandmaster Flash,
Thee Headcoats,
Major Organ And The Adding Machine,
Brass Construction,
Television,
The Trojans,
Nico,
The Black Dice,
These Immortal Souls,
Rakim,
Godley & Creme,
Severed Heads,
Marine Girls,
Ponytail,
Black Moon,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.