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 Korea North and from Accra.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Michelle Simonal to the jazz 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 Notorious Big And Bone Thugs. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
John Coltrane,
Roy Ayers Ubiquity,
Loose Ends,
Radiopuhelimet,
Sugar Minott,
Godley & Creme,
Ludus,
Cameo,
Pharaoh Sanders and the Fire Engines,
Sonny Sharrock,
Rapeman,
Gil Scott Heron,
Scratch Acid,
Whodini,
Absolute Body Control,
China Crisis,
Girls At Our Best!,
The Grass Roots,
Crispy Ambulance,
Eric Copeland,
Audionom,
Japan,
Steve Hackett,
Bobby Sherman,
Camberwell Now,
London Community Gospel Choir,
DeepChord presents Echospace,
The Skatalites,
Idris Muhammad,
Ossler,
Sunsets and Hearts,
Kerri Chandler,
Ituana,
The Doobie Brothers,
La Düsseldorf,
Josef K,
John Holt,
Albert Ayler,
Qualms,
Lizzy Mercier Descloux,
Moebius,
Khruangbin,
Ronan,
Tim Buckley,
Youth Brigade,
The Moleskins,
The Sound,
Bobby Byrd,
The Offenders,
Deutsch Amerikanische Freundschaft,
KRS-One,
The Motions,
One Last Wish,
Dorothy Ashby,
Laurel Aitken,
Johnny Osbourne,
JFA,
Wighnomy Brothers & Robag Wruhme,
The Dead C,
Angry Samoans,
Franke, Franke, Franke, Franke.
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.