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 Kyrgyzstan and from Jakarta.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Paris.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Skriet to the crunk kids.
I played it at the Roxy.
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 Slave. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Q65,
Public Enemy,
LL Cool J,
Nas,
Half Japanese,
Ralphi Rosario,
Orchestral Manoeuvres in the Dark,
Tres Demented,
The Modern Lovers,
Spandau Ballet,
AZ,
KRS-One,
The Index,
Barry Ungar,
Yellowson,
Scott Walker,
Whodini,
Vaughan Mason & Crew,
Jesper Dahlback,
Wings,
Amazonics,
The Trojans,
Lindisfarne,
Carl Craig,
The Moleskins,
Lalo Schifrin,
Fear,
Peter & Gordon,
The Misunderstood,
Masters at Work,
Heavy D & The Boyz,
Malaria!,
Iggy Pop,
Aswad,
Bill Wells,
Black Pus,
Boogie Down Productions,
Faraquet,
Harmonia,
Symarip,
Derrick Morgan,
The Vogues,
In Retrospect,
The Electric Prunes,
Terrestrial Tones,
Kurtis Blow,
Yusef Lateef,
Vainqueur,
Althea and Donna,
Man Eating Sloth,
The Flesh Eaters,
The Gap Band,
Beasts of Bourbon,
Ajijia Myrayebe,
Davy DMX,
Kevin Saunderson,
World's Most,
Franke,
Absolute Body Control,
Reuben Wilson,
Pulsallama,
June of 44,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.