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 Cuba and from Jakarta.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Idris Muhammad 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 The American Breed. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Martian 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Kaleidoscope,
Pantytec,
Rhythim Is Rhythim,
Mo-Dettes,
The Flesh Eaters,
Barbara Tucker,
Oblivians,
Gil Scott Heron,
Nas,
Patti Smith,
The Red Krayola,
D'Angelo,
Connie Case,
The Young Rascals,
The Index,
Be Bop Deluxe,
The Five Americans,
Anthony Braxton,
Vladislav Delay,
Spandau Ballet,
Cal Tjader,
The Remains,
Howard Jones,
Skriet,
The Raincoats,
Parry Music,
The Royal Family And The Poor,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
The Sonics,
Absolute Body Control,
Black Sheep,
A Flock of Seagulls,
Anakelly,
The Black Dice,
The Buckinghams,
Scratch Acid,
Blake Baxter,
The Real Kids,
Terrestrial Tones,
Curtis Mayfield,
David Bowie,
Pere Ubu,
Lower 48,
The Cowsills,
Jeru the Damaja,
Jerry's Kids,
Young Marble Giants,
Peter & Gordon,
R.M.O.,
Bob Dylan,
Negative Approach,
Sam Rivers,
Sunsets and Hearts,
The Trojans,
Au Pairs,
Con Funk Shun,
Nik Kershaw,
The Birthday Party,
K-Klass,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.