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 Algeria and from Sao Paulo.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 This Heat to the rock 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 Monks. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Cameo 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
James White and The Blacks,
Hashim,
Nas,
The Busters,
Bobby Byrd,
Avey Tare,
Alice Coltrane,
The Velvet Underground,
Shoche,
Jacques Brel,
8 Eyed Spy,
The Associates,
The Monochrome Set,
Pylon,
The Cramps,
Bill Wells,
Lou Christie,
Ralphi Rosario,
Toni Rubio,
Be Bop Deluxe,
Rotary Connection,
Major Organ And The Adding Machine,
John Holt,
the Fania All-Stars,
JFA,
Beasts of Bourbon,
Rapeman,
Robert Wyatt,
Aloha Tigers,
Matthew Bourne,
Underground Resistance,
Model 500,
Deakin,
John Coltrane,
Blake Baxter,
Red Lorry Yellow Lorry,
Royal Trux,
Eli Mardock,
Larry & the Blue Notes,
DJ Sneak,
Kaleidoscope,
Mo-Dettes,
Jawbox,
Marine Girls,
Man Eating Sloth,
Organ,
Nils Olav,
Kerrie Biddell,
Delon & Dalcan,
Wings,
The Shadows of Knight,
Flamin' Groovies,
Bobbi Humphrey,
Terrestrial Tones,
a-ha,
Young Marble Giants,
Peter & Gordon,
Supertramp,
Von Mondo,
Kerri Chandler,
Agitation Free,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.