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 Bhutan 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 1965 to 1978.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school New York 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 organ sounds with much patience.
I was there when Donald Fagen 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 Jacob Miller to the dance kids.
I played it at the Astoria.
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 New Christs. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Minutemen 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 '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Skarface,
Erykah Badu,
Harmonia,
Orchestral Manoeuvres in the Dark,
Gastr Del Sol,
Jesper Dahlback,
Massinfluence,
Yellowson,
The Dead C,
Sixth Finger,
Spoonie Gee,
Aural Exciters,
Ultravox,
Royal Trux,
Fort Wilson Riot,
David Axelrod,
Wasted Youth,
Grandmaster Flash,
Ajijia Myrayebe,
Hot Snakes,
Marc Romboy vs. Booka Shade,
The Martian,
The Gladiators,
Siouxsie and the Banshees,
Niagra,
Flash Fearless,
Marine Girls,
Tomorrow,
Jeff Mills,
Monolake,
the Normal,
Altered Images,
Con Funk Shun,
Arcadia,
EPMD,
CMW,
James Chance & The Contortions,
Bill Near,
Grey Daturas,
Arthur Verocai,
Art Ensemble Of Chicago,
the Slits,
Groovy Waters,
Pylon,
Gabor Szabo,
Marshall Jefferson,
Camberwell Now,
Kevin Saunderson,
Stetsasonic,
Gang of Four,
The Cosmic Jokers,
Liliput,
Mr. Review,
the Soft Cell,
The Busters,
Unrelated Segments,
Slave,
Camron Feat. Jay Z And Juelz,
The Five Americans,
Masters at Work,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.