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 Dominican Republic and from Mumbai.
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 1960 to 1975.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Beijing 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 clarinet 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 Bill Near to the crunk kids.
I played it at Trash.
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 Angels of Light. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every F. McDonald 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Todd Terry,
Public Image Ltd.,
Traffic Nightmare,
Moss Icon,
Bob Dylan,
The Flesh Eaters,
Spandau Ballet,
Buzzcocks,
Peter & Gordon,
Gil Scott Heron,
Thompson Twins,
Bronski Beat,
Glambeats Corp.,
The Durutti Column,
The Jesus and Mary Chain,
Rotary Connection,
Bauhaus,
Dead Boys,
Loose Ends,
Nick Cave & The Bad Seeds,
The West Coast Pop Art Experimental Band,
MC5,
The Fall,
Jeff Mills,
Animal Collective,
The Cowsills,
Rhythim Is Rhythim,
Monks,
The Human League,
Joy Division,
Public Enemy,
Main Source,
The Invisible,
Sight & Sound,
DNA,
Scratch Acid,
Clear Light,
Audionom,
Jesper Dahlbäck,
Electric Light Orchestra,
Arcadia,
Rahsaan Roland Kirk,
Black Moon,
Byron Stingily,
L. Decosne,
Desert Stars,
Sarah Menescal,
Erasure,
June of 44,
Ultra Naté,
The Associates,
Sällskapet,
Smog,
Ken Boothe,
Essential Logic,
Godley & Creme,
James White and The Blacks,
Malaria!,
Brass Construction,
Minny Pops,
Glenn Branca,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.