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 Jamaica and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Toronto 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Man Parrish to the jazz kids.
I played it at the Roxy.
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 Technova. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Mad Mike,
Warsaw,
Slick Rick,
Pete Rock & C.L. Smooth,
Ash Ra Tempel,
Nation of Ulysses,
Matthew Halsall,
Ossler,
Blancmange,
Thinking Fellers Union Local 282,
Henry Cow,
Cal Tjader,
The Count Five,
MC5,
Jesper Dahlbäck,
Steve Hackett,
LL Cool J,
The Martian,
The Sonics,
Deepchord,
Cybotron,
London Community Gospel Choir,
Bush Tetras,
Susan Cadogan,
The Five Americans,
Graham Central Station,
Kool Moe Dee,
Agent Orange,
Bad Manners,
Magazine,
Gabor Szabo,
Moss Icon,
Pussy Galore,
Basic Channel,
Neil Young,
Stiv Bators,
Rhythim Is Rhythim,
Sight & Sound,
The Residents,
Tears for Fears,
Gang Green,
Royal Trux,
David Bowie,
The Real Kids,
Pharaoh Sanders and the Fire Engines,
Dark Day,
Bob Dylan,
Lou Reed & Metallica,
Deutsch Amerikanische Freundschaft,
E-Dancer,
Underground Resistance,
Tropical Tobacco,
Crispian St. Peters,
Rowland S Howard / Lydia Lunch,
Siouxsie and the Banshees,
Roy Ayers,
Gil Scott-Heron & Brian Jackson,
Quando Quango,
X-Ray Spex,
Unrelated Segments,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.