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 France and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1977.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Johannesburg 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 organ 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 Selecter to the rap 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 Anthony Braxton. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Mandrill 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. 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?
Lower 48,
Red Lorry Yellow Lorry,
Model 500,
Severed Heads,
Shuggie Otis,
Subhumans,
The Doobie Brothers,
Colin Newman,
Roger Hodgson,
Jawbox,
Soft Machine,
The Peanut Butter Conspiracy,
Maleditus Sound,
Derrick May,
Pete Rock & C.L. Smooth,
Can,
DJ Sneak,
Joensuu 1685,
Gastr Del Sol,
The Modern Lovers,
The Jesus and Mary Chain,
Laurel Aitken,
Pharaoh Sanders and the Fire Engines,
R.M.O.,
Kango’s Stein Massive,
Bang on a Can All-Stars,
It's A Beautiful Day,
Ken Boothe,
Television Personalities,
The Young Rascals,
Gregory Isaacs,
Bootsy's Rubber Band,
Ten City,
the Fania All-Stars,
Bill Near,
Avey Tare,
Anthony Braxton,
Sun Ra Arkestra,
Scan 7,
Toni Rubio,
Blancmange,
Procol Harum,
Slave,
Oblivians,
Urselle,
The Blackbyrds,
The Blues Magoos,
Jacob Miller,
Neil Young,
Shoche,
PIL,
Lebanon Hanover,
Heavy D & The Boyz,
Grandmaster Flash,
Delta 5,
Faust,
Peter & Gordon,
Cameo,
Gabor Szabo,
Electric Prunes,
The Walker Brothers,
Traffic Nightmare,
Icehouse,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.