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 East Timor and from Columbus.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Accra 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 These Immortal Souls to the techno 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 X-102. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
John Cale,
Dawn Penn,
Fat Boys,
Bootsy Collins,
These Immortal Souls,
The Human League,
Ice-T,
Spandau Ballet,
Kerri Chandler,
Kaleidoscope,
Rowland S Howard / Lydia Lunch,
The Electric Prunes,
Buzzcocks,
Clear Light,
Johnny Osbourne,
Tom Boy,
Yellowson,
10cc,
Susan Cadogan,
Fort Wilson Riot,
The United States of America,
Camberwell Now,
Slave,
Cecil Taylor,
Stereo Dub,
Nico,
Anakelly,
Aural Exciters,
Kenny Larkin,
Das Ding,
Howard Jones,
Barry Ungar,
Major Organ And The Adding Machine,
X-Ray Spex,
Judy Mowatt,
Drexciya,
The Sonics,
Ajijia Myrayebe,
Joyce Sims,
Roxy Music,
Lou Reed,
Animal Collective,
The Durutti Column,
Delta 5,
In Retrospect,
Gregory Isaacs,
Sister Nancy,
Dennis Brown,
The New Christs,
The Slits,
Agitation Free,
The Saints,
Steve Hackett,
Schoolly D,
Jimmy McGriff,
Fela Kuti,
Hashim,
Kool G Rap & DJ Polo,
Arthur Verocai,
Sad Lovers and Giants,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.