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 Spain and from Columbus.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 marimba 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 Brass Construction to the electroclash kids.
I played it at the Astoria.
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 Leonard Cohen. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every The Buckinghams 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Mo-Dettes,
The Royal Family And The Poor,
China Crisis,
Judy Mowatt,
Buzzcocks,
Sunsets and Hearts,
Archie Shepp,
Soulsonic Force,
Sonny Sharrock,
Bill Wells,
These Immortal Souls,
Marc Almond,
Minor Threat,
Ultra Naté,
Joyce Sims,
Main Source,
Country Joe & The Fish,
Gil Scott-Heron & Brian Jackson,
Marine Girls,
Eden Ahbez,
Black Sheep,
Robert Wyatt,
Super Lover Cee & Casanova Rud,
Tom Boy,
Terror Squad Feat. Camron,
Soul II Soul,
Slick Rick,
Quadrant,
Lou Reed & John Cale,
The Seeds,
Lou Reed,
Maurizio,
The Mojo Men,
Spandau Ballet,
Pharoah Sanders,
The Cowsills,
Johnny Osbourne,
Can,
Rahsaan Roland Kirk,
Amazonics,
John Holt,
Severed Heads,
Sarah Menescal,
Procol Harum,
Frankie Knuckles,
Darondo,
Matthew Halsall,
The Cosmic Jokers,
Pole,
Throbbing Gristle,
Skarface,
Porter Ricks,
Magma,
Ornette Coleman,
Soft Machine,
The Zeros,
James Chance & The Contortions,
Crime,
Section 25,
T. Rex,
The Cure,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.