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 Italy and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Seoul 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 güiro 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 Pulsallama to the techno kids.
I played it at the 40 Watt.
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 Parry Music. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Flamin' Groovies 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 '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Wings,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Laurel Aitken,
Basic Channel,
Ultra Naté,
Black Moon,
Skarface,
MC5,
Make Up,
Anakelly,
The Misunderstood,
Lou Reed,
B.T. Express,
Albert Ayler,
Outsiders,
The Barracudas,
Essential Logic,
Notorious BIG live in Amsterdam,
John Coltrane,
Wighnomy Brothers & Robag Wruhme,
Shuggie Otis,
Eurythmics,
Ten City,
Neil Young,
Anthony Braxton,
Black Sheep,
Radiohead,
E-Dancer,
The Wake,
Derrick May,
Brass Construction,
UT,
The Royal Family And The Poor,
The Moody Blues,
Marine Girls,
Magazine,
Susan Cadogan,
Strawberry Alarm Clock,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
Chris Corsano,
Cybotron,
The Martian,
Average White Band,
Peter Gordon & Love of Life Orchestra,
Bluetip,
Pierre Henry,
Ken Boothe,
Kauko Röyhkä ja Narttu,
Oneida,
Fela Kuti,
Davy DMX,
Colin Newman,
Subhumans,
The Offenders,
Aural Exciters,
Jacob Miller,
Nirvana, Nirvana, Nirvana, Nirvana.
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.