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 Yemen and from Salvador.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Avey Tare's Slasher Flicks to the techno 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 Idris Muhammad. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
The Cosmic Jokers,
EPMD,
Mr. Review,
Porter Ricks,
Brick,
Morten Harket,
Sonny Sharrock,
Chris & Cosey,
Agent Orange,
Bush Tetras,
The Buckinghams,
Selector Dub Narcotic,
The Offenders,
Skaos,
Siouxsie and the Banshees,
Underground Resistance,
Black Pus,
Sam Rivers,
Dave Gahan,
Terror Squad Feat. Camron,
The West Coast Pop Art Experimental Band,
New Age Steppers,
Maurizio,
Ituana,
La Düsseldorf,
The Associates,
the Slits,
The Gladiators,
Harry Pussy,
The Last Poets,
Aural Exciters,
Warren Ellis,
Bronski Beat,
Joe Smooth,
The Barracudas,
The Red Krayola,
Be Bop Deluxe,
Susan Cadogan,
Popol Vuh,
Basic Channel,
MC5,
Kayak,
Glenn Branca,
Stiv Bators,
The Smoke,
Cabaret Voltaire,
T.S.O.L.,
Terrestrial Tones,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
Thompson Twins,
Leonard Cohen,
The Seeds,
Sugar Minott,
K-Klass,
Harpers Bizarre,
Negative Approach,
Mad Mike,
Lindisfarne,
Grey Daturas,
Alison Limerick,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.