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 Mongolia and from Copenhagen.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers to the funk kids.
I played it at the Hacienda.
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 Schoolly D. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Hoover,
Tropical Tobacco,
Rufus Thomas,
The United States of America,
The Smoke,
Mark Hollis,
Gastr Del Sol,
Soft Machine,
Dual Sessions,
Rhythim Is Rhythim,
Glambeats Corp.,
T.S.O.L.,
Angels of Light & Akron/Family,
Ronnie Foster,
Maurizio,
Unrelated Segments,
Rites of Spring,
A Certain Ratio,
Easy Going,
Minnie Riperton,
Ossler,
Nils Olav,
Lou Christie,
Alton Ellis,
Schoolly D,
DJ Style,
Technova,
PIL,
The New Christs,
Bobby Sherman,
Echospace,
Ohio Players,
The Angels of Light,
KRS-One,
Magma,
The Human League,
Bob Dylan,
Don Cherry,
Nirvana,
The Birthday Party,
The American Breed,
Colin Newman,
Joensuu 1685,
Eric Copeland,
Strawberry Alarm Clock,
the Slits,
Howard Jones,
Rod Modell,
Curtis Mayfield,
The Remains,
The Mojo Men,
The Modern Lovers,
Oblivians,
Avey Tare's Slasher Flicks,
This Heat,
Cymande,
Black Bananas,
Sound Behaviour,
The Star Department,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.