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 Uruguay and from Milan.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Gian Franco Pienzio to the techno kids.
I played it at Cafe Wha.
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 Bobby Byrd. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Colin Newman 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Gladiators,
Camberwell Now,
FM Einheit,
Deutsch Amerikanische Freundschaft,
Matthew Halsall,
Black Moon,
Talk Talk,
Thinking Fellers Union Local 282,
Barbara Tucker,
Art Ensemble Of Chicago,
Super Lover Cee & Casanova Rud,
Rod Modell,
Gil Scott-Heron and Jamie xx,
The Offenders,
Pylon,
The Motions,
AZ,
Zapp,
Das Ding,
Albert Ayler,
Marc Romboy vs. Booka Shade,
Susan Cadogan,
Surgeon,
Anthony Braxton,
Intrusion,
Howard Jones,
Lou Reed & John Cale,
Lucky Dragons,
Dark Day,
The New Christs,
The Shadows of Knight,
Symarip,
Fat Boys,
Half Japanese,
Eddi Front,
The Techniques,
Mr. Review,
Massinfluence,
The Smiths,
The Fuzztones,
Selector Dub Narcotic,
Kool Moe Dee,
DJ Style,
Minnie Riperton,
The Toasters,
Angry Samoans,
F. McDonald,
Moebius,
Jerry's Kids,
MDC,
Andrew Ashong & Theo Parrish,
The Electric Prunes,
Silicon Teens,
Unrelated Segments,
Bootsy's Rubber Band,
Gang Gang Dance,
Animal Collective,
Archie Shepp,
Q and Not U,
Drive Like Jehu,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.