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 Switzerland and from Manchester.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school Lagos 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the synthesizer 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 Harmonia to the funk 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 Eric Dolphy. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Bang On A Can 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 '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Sound,
Fifty Foot Hose,
Laurel Aitken,
Eve St. Jones,
Los Fastidios,
Wally Richardson,
The Index,
Derrick Morgan,
the Soft Cell,
The Star Department,
The Martian,
The Fuzztones,
Gang Green,
Rotary Connection,
Dual Sessions,
Shuggie Otis,
The Smiths,
Yaz,
Throbbing Gristle,
Agitation Free,
Lightning Bolt,
Alison Limerick,
Spoonie Gee,
Derrick May,
Bob Dylan,
Lee Hazlewood,
Sparks,
The American Breed,
Rosa Yemen,
Pole,
Nick Fraelich,
Hoover,
Strawberry Alarm Clock,
Ultravox,
Sonny Sharrock,
Jerry Gold Smith,
Con Funk Shun,
The Slackers,
China Crisis,
Vladislav Delay,
Soulsonic Force,
E-Dancer,
The Durutti Column,
Loose Ends,
Jerry's Kids,
The Monochrome Set,
The New Christs,
Moby Grape,
This Heat,
Maurizio,
John Foxx,
John Coltrane,
The Doobie Brothers,
Massinfluence,
Chrome,
Funkadelic,
Symarip,
R.M.O.,
Circle Jerks,
The Searchers,
Kauko Röyhkä ja Narttu,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.