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 Morocco and from Hong Kong.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 Jacob Miller to the crunk kids.
I played it at the Troubador.
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 Pet Shop Boys. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Juan Atkins,
Faust,
Young Marble Giants,
Eric B and Rakim,
Desert Stars,
The Beau Brummels,
Kango’s Stein Massive,
H. Thieme,
Bill Wells,
MDC,
Sound Behaviour,
Camron Feat. Memphis Bleek And Beenie Seigel,
Delta 5,
Thompson Twins,
DNA,
Symarip,
DJ Style,
Icehouse,
Thinking Fellers Union Local 282,
Heaven 17,
Avey Tare's Slasher Flicks,
Scion,
Camouflage,
Ajijia Myrayebe,
Fugazi,
Warren Ellis,
Andrew Hill,
Bluetip,
The Seeds,
Public Image Ltd.,
Howard Jones,
Al Stewart,
John Lydon,
Unwound,
Warsaw,
Joensuu 1685,
Lou Christie,
Oneida,
Bronski Beat,
Siglo XX,
Sugar Minott,
Ice-T,
Eden Ahbez,
Louis and Bebe Barron,
Michelle Simonal,
Reuben Wilson,
The Toasters,
Carl Craig,
The Fire Engines,
Neu!,
Byron Stingily,
The Gories,
Isaac Hayes,
The Golliwogs,
Mad Mike,
The Gun Club,
a-ha,
Aural Exciters,
Massinfluence,
Eve St. Jones,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.