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 Ukraine and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and Bologna.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Trumans Water to the rock 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 Rhythm & Sound. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Minnie Riperton 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Can,
Kurtis Blow,
Max Romeo,
The Count Five,
Circle Jerks,
Franke,
Black Sheep,
Section 25,
Yusef Lateef,
Flipper,
Traffic Nightmare,
Tears for Fears,
H. Thieme,
Joyce Sims,
Freddie Wadling,
The American Breed,
Japan,
The Monochrome Set,
Funkadelic,
In Retrospect,
Pantytec,
Maleditus Sound,
Art Ensemble Of Chicago,
Massinfluence,
Frankie Knuckles,
Inner City,
Gregory Isaacs,
PIL,
Chris & Cosey,
Blake Baxter,
Technova,
Jimmy McGriff,
Barry Ungar,
Marcia Griffiths,
Roy Ayers Ubiquity,
Excepter,
Country Teasers,
Maurizio,
Lightning Bolt,
The Seeds,
Liliput,
Sixth Finger,
Pharoah Sanders,
Crash Course in Science,
Dave Gahan,
Tubeway Army,
Schoolly D,
Amon Düül,
The Tremeloes,
Richard Hell and the Voidoids,
The Buckinghams,
Pagans,
Peter Gordon & Love of Life Orchestra,
Leonard Cohen,
Tommy Roe,
Johnny Clarke,
A Certain Ratio,
Grey Daturas,
Rotary Connection,
Pole,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.