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 Vanuatu and from Manchester.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Cairo and Delhi.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Gang Green to the funk 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 The Selecter. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Pylon,
Brass Construction,
The Buckinghams,
Josef K,
Idris Muhammad,
Marmalade,
Letta Mbulu,
Sun City Girls,
Marc Almond,
Sugar Minott,
Altered Images,
The Selecter,
Vaughan Mason & Crew,
Can,
Basic Channel,
Moss Icon,
The Knickerbockers,
Prince Buster,
Piero Umiliani,
Lakeside,
World's Most,
The J.B.'s,
Carl Craig,
Bad Manners,
Rod Modell,
Soul II Soul,
Swell Maps,
Faust,
Mr. Review,
Shoche,
Gabor Szabo,
Juan Atkins,
The Smoke,
Archie Shepp,
Lungfish,
Amon Düül,
Negative Approach,
Angels of Light & Akron/Family,
Funkadelic,
Niagra,
Flipper,
Quantec,
Moebius,
Pole,
Jerry's Kids,
Amazonics,
Make Up,
DNA,
Teenage Jesus and the Jerks,
the Slits,
Kurtis Blow,
Talk Talk,
Sonic Youth,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Max Romeo,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.