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 Philippines and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 The Saints to the disco kids.
I played it at the Crocodile.
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 Kool G Rap & DJ Polo. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Metal Thangz,
Lou Reed & John Cale,
Wings,
Blancmange,
Depeche Mode,
DJ Style,
The Durutti Column,
Masters at Work,
Heaven 17,
Scratch Acid,
Eyeless In Gaza,
Kango’s Stein Massive,
KRS-One,
Smog,
The West Coast Pop Art Experimental Band,
Marvin Gaye,
Joy Division,
Dead Boys,
Sparks,
Mars,
Fort Wilson Riot,
EPMD,
Cluster,
Don Cherry,
Alice Coltrane,
Liliput,
Pet Shop Boys,
Eric B and Rakim,
Neil Young,
Jerry Gold Smith,
Kauko Röyhkä ja Narttu,
Malaria!,
The Seeds,
Funky Four + One,
Nik Kershaw,
Mr. Review,
Unrelated Segments,
Simply Red,
Roxy Music,
Brothers Johnson,
Spoonie Gee,
The Men They Couldn't Hang,
Cameo,
Man Eating Sloth,
Yellowson,
the Bar-Kays,
The Blackbyrds,
Con Funk Shun,
Lalann,
Gerry Rafferty,
T.S.O.L.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Japan,
Godley & Creme,
Wasted Youth,
The Jesus and Mary Chain,
Faust,
Adolescents,
Marcia Griffiths,
Major Organ And The Adding Machine,
Jeru the Damaja,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.