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-Bissau and from Copenhagen.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Manchester 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes 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 Mr. Review to the rap kids.
I played it at CBGB's.
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 Cecil Taylor. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal crunk 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The New Christs,
Grandmaster Flash and the Furious Five,
Fluxion,
Camberwell Now,
Joy Division,
Lebanon Hanover,
The Chocolate Watch Band,
Ajijia Myrayebe,
Agitation Free,
Bronski Beat,
Gil Scott Heron,
The Golliwogs,
Kaleidoscope,
Spandau Ballet,
Roxette,
Notorious Big And Bone Thugs,
Essential Logic,
Kenny Larkin,
Heavy D & The Boyz,
Graham Central Station,
the Association,
cv313,
Popol Vuh,
Nico,
KRS-One,
The Mojo Men,
Pole,
Ken Boothe,
The Divine Comedy,
Radiohead,
The Seeds,
Swell Maps,
Moebius,
Ice-T,
Amazonics,
Vaughan Mason & Crew,
Red Lorry Yellow Lorry,
Minny Pops,
The Kinks,
Crime,
The Vogues,
The Saints,
Soul II Soul,
Funky Four + One,
Selector Dub Narcotic,
H. Thieme,
Ornette Coleman,
Organ,
Altered Images,
CMW,
Eli Mardock,
Soft Machine,
JFA,
Barrington Levy,
Ultramagnetic MC's,
Sad Lovers and Giants,
the Human League,
Black Pus,
Mantronix,
The Dead C, The Dead C, The Dead C, The Dead C.
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.