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 Saudi Arabia and from Taipei.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Pharoah Sanders to the jazz kids.
I played it at CBGB's.
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 Lou Reed & Metallica. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Dual Sessions,
Das Ding,
Max Romeo,
Mary Jane Girls,
Al Stewart,
Section 25,
Dawn Penn,
Banda Bassotti,
Avey Tare's Slasher Flicks,
Drexciya,
Nils Olav,
Suburban Knight,
Pantaleimon,
K-Klass,
Gary Puckett & The Union Gap,
The Divine Comedy,
Buzzcocks,
The Names,
Stereo Dub,
Soft Cell,
Marvin Gaye,
Franke,
Mad Mike,
10cc,
DJ Style,
Amon Düül II,
Shoche,
Ornette Coleman,
John Holt,
Roxette,
Hashim,
Pete Rock & C.L. Smooth,
Marc Romboy vs. Booka Shade,
Saccharine Trust,
Reuben Wilson,
Tomorrow,
Parry Music,
Rekid,
Essential Logic,
Circle Jerks,
Marcia Griffiths,
Eve St. Jones,
Jerry Gold Smith,
Manfred Mann's Earth Band,
Fad Gadget,
Icehouse,
Ossler,
Kool G Rap & DJ Polo,
The Zeros,
Make Up,
Massinfluence,
Wighnomy Brothers & Robag Wruhme,
the Slits,
Sunsets and Hearts,
Von Mondo,
PIL,
Deutsch Amerikanische Freundschaft,
The Sonics,
Babytalk,
Popol Vuh,
Lonnie Liston Smith,
Tommy Roe,
Surgeon,
David Bowie, David Bowie, David Bowie, David Bowie.
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.