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 Ivory Coast and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Glasgow 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 theremin 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 Roxy Music to the grime kids.
I played it at the Troubador.
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 D'Angelo. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Yazoo,
La Düsseldorf,
Albert Ayler,
ABC,
EPMD,
Toni Rubio,
Dennis Brown,
Barrington Levy,
Joe Smooth,
Urselle,
Girls At Our Best!,
Ludus,
MDC,
the Human League,
Sugar Minott,
Lou Reed & John Cale,
the Bar-Kays,
Gil Scott Heron,
Delon & Dalcan,
Johnny Clarke,
Fluxion,
Faraquet,
The Royal Family And The Poor,
Gil Scott-Heron and Jamie xx,
Excepter,
The Knickerbockers,
Parry Music,
Soul II Soul,
London Community Gospel Choir,
The Durutti Column,
The Standells,
Smog,
Eric Dolphy,
Ituana,
X-Ray Spex,
Boredoms,
The Seeds,
Michelle Simonal,
The American Breed,
Minny Pops,
Louis and Bebe Barron,
Neil Young & Crazy Horse,
Drexciya,
Sight & Sound,
The Beau Brummels,
Kayak,
Second Layer,
Nick Fraelich,
Andrew Ashong & Theo Parrish,
Morten Harket,
James Chance & The Contortions,
Camouflage,
Echospace,
Arcadia,
Severed Heads,
Deadbeat,
Nirvana,
The Slits,
Scratch Acid,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.