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 Belarus and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Rhythim Is Rhythim to the crunk 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 Aaron Thompson. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Eli Mardock 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mad Mike record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Radio Birdman,
Massinfluence,
Audionom,
Public Image Ltd.,
Quadrant,
EPMD,
Juan Atkins,
Bobby Byrd,
One Last Wish,
New York Dolls,
Bootsy's Rubber Band,
The Fugs,
Ronan,
Television Personalities,
Sunsets and Hearts,
Kayak,
Nik Kershaw,
Liliput,
Glenn Branca,
Bobby Sherman,
Jeru the Damaja,
Moss Icon,
Amon Düül II,
Cybotron,
Tom Boy,
Main Source,
Scott Walker + Sunn O))),
Supertramp,
Eli Mardock,
Kenny Larkin,
Drive Like Jehu,
Curtis Mayfield,
Oblivians,
Laurel Aitken,
Nation of Ulysses,
China Crisis,
Talk Talk,
Avey Tare's Slasher Flicks,
Wighnomy Brothers & Robag Wruhme,
Bobby Hutcherson,
The Angels of Light,
Sister Nancy,
Sexual Harrassment,
T. Rex,
Don Cherry,
Porter Ricks,
H. Thieme,
Beasts of Bourbon,
Minnie Riperton,
The Pop Group,
Wasted Youth,
Lizzy Mercier Descloux,
Television,
Gil Scott-Heron and Jamie xx,
The Gun Club,
B.T. Express,
Basic Channel,
Junior Murvin,
Bob Dylan,
Robert Hood,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.