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 Bosnia Herzegovina and from Glasgow.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Mumbai 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 marimba sounds with much patience.
I was there when Lou Reed 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 Robert Hood to the punk kids.
I played it at the Troubador.
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 Busters. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Charles Mingus 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Smog,
Gil Scott Heron,
Mantronix,
Iggy Pop,
the Swans,
Rekid,
The Blues Magoos,
Hot Snakes,
Soft Cell,
Peter and Kerry,
Nico,
Qualms,
Funky Four + One,
The United States of America,
CMW,
The Moody Blues,
Nick Cave & The Bad Seeds,
Fluxion,
The Gap Band,
Trumans Water,
Eddi Front,
Deutsch Amerikanische Freundschaft,
Kerri Chandler,
The Leaves,
Drive Like Jehu,
Erykah Badu,
Jacob Miller,
Fort Wilson Riot,
Jesper Dahlback,
Colin Newman,
Roger Hodgson,
The Chocolate Watch Band,
Cabaret Voltaire,
Toni Rubio,
Japan,
Barclay James Harvest,
Gregory Isaacs,
Faust,
Fear,
Lee Hazlewood,
Traffic Nightmare,
Rapeman,
The Black Dice,
Oneida,
Kayak,
Mark Hollis,
Pagans,
Spoonie Gee,
The Human League,
Mission of Burma,
Radio Birdman,
48th St. Collective,
Gary Puckett & The Union Gap,
The Velvet Underground,
Gong,
The Selecter,
Heavy D & The Boyz,
Sad Lovers and Giants,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.