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 Sri Lanka and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1970.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Birthday Party to the dance 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 Clear Light. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Scan 7 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Selector Dub Narcotic,
Lou Reed,
Anakelly,
Marine Girls,
Dorothy Ashby,
Thinking Fellers Union Local 282,
Sly & The Family Stone,
Visage,
Roxette,
Theoretical Girls,
Country Joe & The Fish,
Magazine,
The Smiths,
Janne Schatter,
Minor Threat,
The Monochrome Set,
Bootsy Collins,
Skriet,
Slick Rick,
Brand Nubian,
David Axelrod,
Ornette Coleman,
Subhumans,
Avey Tare & Kría Brekkan,
Bizarre Inc.,
Q and Not U,
Kaleidoscope,
Pussy Galore,
Joyce Sims,
Sound Behaviour,
Kas Product,
Ajijia Myrayebe,
The Men They Couldn't Hang,
Tubeway Army,
Scratch Acid,
Stockholm Monsters,
Roy Ayers Ubiquity,
Hot Snakes,
Girls At Our Best!,
Tropical Tobacco,
The Knickerbockers,
Pete Rock & C.L. Smooth,
Black Sheep,
Cecil Taylor,
John Coltrane,
Quadrant,
Sparks,
Notorious BIG live in Amsterdam,
Godley & Creme,
The Blackbyrds,
Bobby Hutcherson,
James Chance & The Contortions,
The Skatalites,
Sunsets and Hearts,
Mission of Burma,
One Last Wish,
Notorious Big And Bone Thugs,
Infiniti,
Warsaw,
Brass Construction,
Fifty Foot Hose,
Joe Smooth,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.