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 Ukraine and from Beijing.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Milan 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Alison Limerick to the rap kids.
I played it at the Hacienda.
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 Amon Düül. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal crunk 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 a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Harmonia,
Fifty Foot Hose,
The New Christs,
Sun Ra,
Eddi Front,
A Certain Ratio,
LL Cool J,
Minnie Riperton,
Motorama,
Con Funk Shun,
Mission of Burma,
The Cosmic Jokers,
48th St. Collective,
Curtis Mayfield,
Circle Jerks,
Pantaleimon,
Oppenheimer Analysis,
Accadde A,
Skaos,
Tropical Tobacco,
Anakelly,
T. Rex,
Susan Cadogan,
One Last Wish,
Todd Rundgren,
Ultravox,
Girls At Our Best!,
Orchestral Manoeuvres in the Dark,
Gian Franco Pienzio,
Nik Kershaw,
Rod Modell,
Gil Scott-Heron & Brian Jackson,
Saccharine Trust,
Kayak,
The Wake,
The Grass Roots,
Intrusion,
Tears for Fears,
New York Dolls,
Derrick May,
The Martian,
Half Japanese,
Gabor Szabo,
Pantytec,
Roger Hodgson,
Frankie Knuckles,
Audionom,
The Index,
Faraquet,
Warren Ellis,
Andrew Hill,
K-Klass,
Rosa Yemen,
Can,
Laurel Aitken,
Derrick Morgan,
David McCallum,
Electric Prunes,
Trumans Water,
The Evens,
Procol Harum,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.