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 Guinea 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 1963 to 1971.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia 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 Camron Feat. Memphis Bleek And Beenie Seigel to the grime kids.
I played it at the 40 Watt.
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 T. Rex. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your rhodes and bought an organ.
I hear that you and your band have sold your organ and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Human League,
Godley & Creme,
Black Pus,
Bill Near,
John Cale,
Rhythm & Sound,
The Barracudas,
The Doors,
Ash Ra Tempel,
Scion,
Sad Lovers and Giants,
Public Image Ltd.,
Black Sheep,
Bobby Womack,
Kool G Rap & DJ Polo,
Roger Hodgson,
Altered Images,
Sly & The Family Stone,
Kauko Röyhkä ja Narttu,
Wasted Youth,
Skriet,
Arab on Radar,
Grauzone,
Notorious BIG live in Amsterdam,
Siglo XX,
Howard Jones,
Joey Negro,
Dead Boys,
The West Coast Pop Art Experimental Band,
Frankie Knuckles,
Accadde A,
Sight & Sound,
Babytalk,
Animal Collective,
Isaac Hayes,
Junior Murvin,
Lyres,
Saccharine Trust,
Yusef Lateef,
Ralphi Rosario,
Ronan,
Pagans,
Soul II Soul,
Aural Exciters,
Excepter,
Das Ding,
MC5,
Electric Prunes,
The Jesus and Mary Chain,
Ken Boothe,
Siouxsie and the Banshees,
Spandau Ballet,
Bootsy Collins,
Michelle Simonal,
Absolute Body Control,
Reagan Youth,
Todd Rundgren,
Shuggie Otis,
Japan,
A Flock of Seagulls,
Vainqueur,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.