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 Qatar and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school London 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 güiro 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 Letta Mbulu to the rap kids.
I played it at the Hacienda.
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 Ralphi Rosario. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every The Electric Prunes 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
A Flock of Seagulls,
AZ,
Major Organ And The Adding Machine,
The Gap Band,
Darondo,
Oppenheimer Analysis,
Radiohead,
Chris & Cosey,
Animal Collective,
Ornette Coleman,
Sad Lovers and Giants,
Easy Going,
Subhumans,
Kerrie Biddell,
Ultravox,
Model 500,
Bluetip,
Nik Kershaw,
Kas Product,
Public Image Ltd.,
Cybotron,
Ralphi Rosario,
Crispy Ambulance,
the Normal,
the Sonics,
Adolescents,
Cameo,
D'Angelo,
June Days,
Joey Negro,
Soft Cell,
K-Klass,
Terry Callier,
Sugar Minott,
Camberwell Now,
Dorothy Ashby,
Ken Boothe,
UT,
Pete Rock & C.L. Smooth,
Rakim,
Hoover,
Visage,
The Moleskins,
Eli Mardock,
The Sound,
Sight & Sound,
The Selecter,
Crispian St. Peters,
Rhythm & Sound,
Pharoah Sanders,
Arthur Verocai,
Scott Walker + Sunn O))),
The Zeros,
Susan Cadogan,
Robert Görl,
Sly & The Family Stone,
The Seeds,
Thee Headcoats,
The Smoke,
Lebanon Hanover,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.