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 Equatorial Guinea and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Beijing 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 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 Kool Moe Dee to the funk 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 Bronski Beat. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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,
Ludus,
Cecil Taylor,
Lindisfarne,
The Dead C,
Man Eating Sloth,
Y Pants,
Negative Approach,
Steve Hackett,
Yazoo,
Faraquet,
Selector Dub Narcotic,
Ronan,
Rowland S Howard / Lydia Lunch,
The Real Kids,
Gerry Rafferty,
Fatback Band,
Urselle,
Dead Boys,
Sam Rivers,
Gang Gang Dance,
The Pop Group,
Louis and Bebe Barron,
Charles Mingus,
Lucky Dragons,
The Associates,
The Doobie Brothers,
The Last Poets,
Susan Cadogan,
Grandmaster Flash,
The Blackbyrds,
Fort Wilson Riot,
Kurtis Blow,
Country Joe & The Fish,
Delon & Dalcan,
The J.B.'s,
Gian Franco Pienzio,
Bobby Womack,
Funkadelic,
Jesper Dahlbäck,
Wings,
Arcadia,
Sun City Girls,
Mission of Burma,
X-101,
Symarip,
Average White Band,
Bush Tetras,
Joyce Sims,
The Selecter,
The Mighty Diamonds,
Lafayette Afro Rock Band,
The Gun Club,
David Axelrod,
Ten City,
Simply Red,
Marine Girls,
Carl Craig,
Rosa Yemen,
Electric Prunes,
Bobbi Humphrey,
Max Romeo,
Heavy D & The Boyz,
Bobby Hutcherson,
Quantec, Quantec, Quantec, Quantec.
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.