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 Belgium and from Toronto.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Eli Mardock to the electroclash kids.
I played it at Trash.
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 Lucky Dragons. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
LL Cool J,
The Moody Blues,
Maurizio,
Eyeless In Gaza,
The J.B.'s,
Pantaleimon,
Sixth Finger,
Jacob Miller,
Angry Samoans,
Deadbeat,
Niagra,
Au Pairs,
June of 44,
The Slackers,
Public Image Ltd.,
Adolescents,
Moebius,
KRS-One,
Yellowson,
Sun Ra,
Cameo,
Iggy Pop,
Clear Light,
New Age Steppers,
Flipper,
The Misunderstood,
Spandau Ballet,
The Buckinghams,
Con Funk Shun,
Qualms,
Pierre Henry,
The Residents,
Cybotron,
Deakin,
Country Joe & The Fish,
Bronski Beat,
Radiohead,
Electric Prunes,
Country Teasers,
Bill Wells,
Dawn Penn,
Bootsy's Rubber Band,
The Royal Family And The Poor,
Banda Bassotti,
Judy Mowatt,
John Lydon,
Simply Red,
Panda Bear,
Urselle,
Derrick May,
Darondo,
Man Eating Sloth,
Jerry Gold Smith,
Thompson Twins,
Wally Richardson,
Minny Pops,
Main Source,
Parry Music,
Black Pus,
Lakeside,
Toni Rubio,
Scion, Scion, Scion, Scion.
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.