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 Costa Rica and from Cairo.
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 1972.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 The Remains to the crunk kids.
I played it at the Spitz.
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 Cabaret Voltaire. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Lindisfarne,
Sly & The Family Stone,
the Association,
Sonny Sharrock,
The Jesus and Mary Chain,
Siglo XX,
Inner City,
Don Cherry,
Gil Scott-Heron & Brian Jackson,
Arthur Verocai,
Tears for Fears,
The Peanut Butter Conspiracy,
Colin Newman,
Crispian St. Peters,
Can,
Pet Shop Boys,
The Modern Lovers,
Agitation Free,
Teenage Jesus and the Jerks,
Notorious Big And Bone Thugs,
Andrew Ashong & Theo Parrish,
Pantaleimon,
Sugar Minott,
Newcleus,
Soft Machine,
Carl Craig,
Lungfish,
Basic Channel,
Darondo,
Spandau Ballet,
Lou Reed & Metallica,
The Offenders,
Lafayette Afro Rock Band,
Soft Cell,
Ten City,
Radiohead,
Smog,
Minnie Riperton,
The Martian,
Grandmaster Flash and the Furious Five,
Lucky Dragons,
Yellowson,
Robert Hood,
Michelle Simonal,
The Stooges,
Aural Exciters,
Easy Going,
Nils Olav,
The Last Poets,
Soul Sonic Force,
Nas,
Oppenheimer Analysis,
The Sisters of Mercy,
Bill Near,
OOIOO,
Gang Gang Dance,
Surgeon,
The Happenings, The Happenings, The Happenings, The Happenings.
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.