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 Andorra and from Tehran.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Gastr Del Sol to the funk kids.
I played it at Cafe Wha.
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 The Martian. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Hardrive,
The Count Five,
X-102,
the Slits,
ABBA,
Can,
Dorothy Ashby,
Al Stewart,
Byron Stingily,
James Chance & The Contortions,
The Pretty Things,
China Crisis,
Eyeless In Gaza,
Robert Wyatt,
Lebanon Hanover,
Terry Callier,
The Saints,
Soul II Soul,
Mr. Review,
Kauko Röyhkä ja Narttu,
The Detroit Cobras,
Ponytail,
The Smoke,
Pere Ubu,
Pole,
Susan Cadogan,
U.S. Maple,
Johnny Clarke,
Television,
The Human League,
Pete Rock & C.L. Smooth,
Roy Ayers,
Das Ding,
The Techniques,
Negative Approach,
Morten Harket,
Lungfish,
Althea and Donna,
The Men They Couldn't Hang,
Angels of Light & Akron/Family,
Easy Going,
kango's stein massive,
Marc Romboy vs. Booka Shade,
Eurythmics,
Bronski Beat,
Maleditus Sound,
Scrapy,
Bush Tetras,
The Sound,
Ice-T,
The Wake,
Boogie Down Productions,
Marshall Jefferson,
The Busters,
Moss Icon,
Kurtis Blow,
Circle Jerks,
Deadbeat,
the Human League,
Camouflage,
Fela Kuti,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.