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 St Kitts & Nevis and from Hong Kong.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Lille 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 oboe 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 Marcia Griffiths to the punk kids.
I played it at the 40 Watt.
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 Erasure. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
the Bar-Kays,
Unrelated Segments,
Model 500,
X-102,
Frankie Knuckles,
48th St. Collective,
Nick Fraelich,
Major Organ And The Adding Machine,
Section 25,
Mo-Dettes,
Con Funk Shun,
Pagans,
Pierre Henry,
John Cale,
8 Eyed Spy,
David Axelrod,
Black Moon,
Tomorrow,
Boredoms,
Marmalade,
The Saints,
Maurizio,
Stiv Bators,
This Heat,
Thompson Twins,
Beasts of Bourbon,
Aloha Tigers,
Ken Boothe,
Fluxion,
Ultramagnetic MC's,
Duran Duran,
Danielle Patucci,
Kings Of Tomorrow,
JFA,
Q65,
Joe Smooth,
Cheater Slicks,
The Barracudas,
the Association,
Camberwell Now,
Chris Corsano,
The Pretty Things,
These Immortal Souls,
Joyce Sims,
The Moleskins,
Maleditus Sound,
Tim Buckley,
Pole,
Moby Grape,
Barclay James Harvest,
Eden Ahbez,
The Wake,
Bobby Sherman,
Kerri Chandler,
Yaz,
Fifty Foot Hose,
Kool G Rap & DJ Polo,
Crispian St. Peters,
Fatback Band,
Ohio Players,
Judy Mowatt,
Tropical Tobacco,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.