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 Equatorial Guinea and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Jakarta 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 Josef K practice in a loft in Edinburgh.
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 The Monochrome Set to the electroclash 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 Ice-T. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Radiopuhelimet,
Smog,
Monolake,
Roxy Music,
Amazonics,
the Fania All-Stars,
Eve St. Jones,
the Association,
Avey Tare & Kría Brekkan,
Marshall Jefferson,
The Sound,
U.S. Maple,
The Electric Prunes,
Eric Dolphy,
Brothers Johnson,
The Vogues,
Stiv Bators,
Das Ding,
Gichy Dan,
Pulsallama,
The Detroit Cobras,
Steve Hackett,
Peter Gordon & Love of Life Orchestra,
Throbbing Gristle,
Fat Boys,
OOIOO,
The Alarm Clocks,
The Searchers,
Rhythm & Sound,
The Names,
Roy Ayers Ubiquity,
Dual Sessions,
The Saints,
Oppenheimer Analysis,
Sly & The Family Stone,
Zapp,
Sunsets and Hearts,
Deepchord,
Louis and Bebe Barron,
The Skatalites,
Frankie Knuckles,
The Litter,
The Cowsills,
Y Pants,
Al Stewart,
Babytalk,
Ajijia Myrayebe,
Darondo,
The Techniques,
the Germs,
Electric Light Orchestra,
Make Up,
The Zeros,
The Leaves,
Bauhaus,
Amon Düül II,
Black Flag,
Andrew Ashong & Theo Parrish,
Fela Kuti,
The Seeds,
Inner City,
Jacques Brel,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.