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 Ghana and from London.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe 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 Lou Christie to the funk 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 Scion. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Sound Behaviour,
Aural Exciters,
Icehouse,
The Vogues,
Electric Light Orchestra,
Ronnie Foster,
Pylon,
Gary Puckett & The Union Gap,
Lyres,
Clear Light,
Ash Ra Tempel,
Lindisfarne,
Joyce Sims,
David McCallum,
Piero Umiliani,
Gerry Rafferty,
Roy Ayers,
The Seeds,
Faraquet,
Youth Brigade,
The Selecter,
The Wake,
The Toasters,
Simply Red,
Public Image Ltd.,
Chrome,
The Evens,
Section 25,
Rosa Yemen,
Ken Boothe,
Spoonie Gee,
Sly & The Family Stone,
Sugar Minott,
Tom Boy,
Ralphi Rosario,
Lakeside,
Mandrill,
The Offenders,
The Dirtbombs,
The Fuzztones,
Eden Ahbez,
Hoover,
Jimmy McGriff,
Darondo,
Newcleus,
Leonard Cohen,
The Modern Lovers,
Bronski Beat,
Average White Band,
Lalo Schifrin,
June Days,
Marshall Jefferson,
The Jesus and Mary Chain,
Tears for Fears,
OOIOO,
Beasts of Bourbon,
Gong,
Kool G Rap & DJ Polo,
Girls At Our Best!,
Massinfluence,
E-Dancer,
Malaria!, Malaria!, Malaria!, Malaria!.
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.