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 Spain and from Paris.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Lille 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 David Bowie 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 Dawn Penn to the techno kids.
I played it at the Astoria.
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 Marmalade. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
The Moody Blues,
Sugar Minott,
Max Romeo,
Ajijia Myrayebe,
Röyhkä ja Rättö ja Lehtisalo,
Reagan Youth,
Don Cherry,
Model 500,
Liliput,
Toni Rubio,
Mars,
Cybotron,
The Vogues,
Panda Bear,
Pulsallama,
Sun Ra Arkestra,
A Certain Ratio,
Sexual Harrassment,
Neil Young & Crazy Horse,
Eric Copeland,
Groovy Waters,
Eve St. Jones,
The Flesh Eaters,
Deadbeat,
Man Eating Sloth,
Mission of Burma,
the Fania All-Stars,
Isaac Hayes,
Lebanon Hanover,
Davy DMX,
DeepChord presents Echospace,
Young Marble Giants,
Ronnie Foster,
Lonnie Liston Smith,
Cal Tjader,
Thinking Fellers Union Local 282,
Monks,
The Mummies,
Manfred Mann's Earth Band,
48th St. Collective,
Thee Headcoats,
Justin Hinds & The Dominoes,
Second Layer,
The Litter,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
KRS-One,
Ornette Coleman,
Slave,
X-102,
Fat Boys,
Dorothy Ashby,
Ken Boothe,
Television,
One Last Wish,
Bauhaus,
EPMD,
Lyres,
Funky Four + One,
The Standells,
Excepter,
The Evens, The Evens, The Evens, The Evens.
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.