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 Dominican Republic and from Copenhagen.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Portland.
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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 Angry Samoans to the grime kids.
I played it at the Crocodile.
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 Albert Ayler. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Motorama 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Terry Callier,
Tres Demented,
Index,
The Neon Judgement,
Loose Ends,
Magazine,
Warren Ellis,
Procol Harum,
Mad Mike,
48th St. Collective,
Tim Buckley,
Liaisons Dangereuses,
Agent Orange,
The Cosmic Jokers,
ABBA,
Terror Squad Feat. Camron,
Toni Rubio,
Roxette,
Basic Channel,
The Litter,
Porter Ricks,
K-Klass,
Electric Light Orchestra,
Intrusion,
Oneida,
Idris Muhammad,
Darondo,
Mary Jane Girls,
Stiv Bators,
Newcleus,
Stockholm Monsters,
The Smiths,
The Gladiators,
Tears for Fears,
Ash Ra Tempel,
The Black Dice,
Mo-Dettes,
Kool G Rap & DJ Polo,
The Associates,
Bill Near,
Wally Richardson,
Rotary Connection,
Jawbox,
David McCallum,
Letta Mbulu,
London Community Gospel Choir,
Guru Guru,
the Germs,
The Victims,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Make Up,
Crash Course in Science,
Whodini,
Patti Smith,
John Cale,
The Raincoats,
Glenn Branca,
Soul Sonic Force,
Groovy Waters,
The Detroit Cobras,
Jacob Miller,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.