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 Gambia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Morten Harket to the jazz kids.
I played it at the Spitz.
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 Fifty Foot Hose. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
James Chance & The Contortions,
Robert Hood,
Half Japanese,
Jerry's Kids,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
E-Dancer,
The Blackbyrds,
Deutsch Amerikanische Freundschaft,
Fluxion,
Derrick Morgan,
Jacques Brel,
Absolute Body Control,
Marc Almond,
Wolf Eyes,
The Martian,
T.S.O.L.,
Underground Resistance,
Goldenarms,
Eric Dolphy,
Josef K,
Massinfluence,
Vaughan Mason & Crew,
Stockholm Monsters,
Nico,
The Selecter,
kango's stein massive,
Erasure,
Avey Tare & Kría Brekkan,
Soul II Soul,
Quando Quango,
Ponytail,
Rowland S Howard / Lydia Lunch,
Marcia Griffiths,
Magma,
The Gun Club,
The Sisters of Mercy,
Soft Machine,
The Cowsills,
Yusef Lateef,
Roy Ayers Ubiquity,
Subhumans,
Joensuu 1685,
Slick Rick,
Black Flag,
La Düsseldorf,
Beasts of Bourbon,
Q65,
Blake Baxter,
Average White Band,
DNA,
Gerry Rafferty,
Neu!,
New Age Steppers,
the Fania All-Stars,
Second Layer,
The Divine Comedy,
The Birthday Party,
Super Lover Cee & Casanova Rud,
Ronnie Foster,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.