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 Chile and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Accra and Philadelphia.
I'm losing my edge to the art-school Madrid 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 808 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 The Modern Lovers to the grunge kids.
I played it at Cafe Wha.
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 Siglo XX. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Gang Gang Dance,
Second Layer,
Agent Orange,
The Detroit Cobras,
Lower 48,
Carl Craig,
Cal Tjader,
Todd Terry,
Eurythmics,
The Evens,
Jesper Dahlbäck,
Marc Romboy vs. Booka Shade,
Quadrant,
Monks,
Byron Stingily,
Hashim,
Yusef Lateef,
Eve St. Jones,
Marcia Griffiths,
The Mighty Diamonds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mo-Dettes,
The Saints,
Boredoms,
Isaac Hayes,
Kauko Röyhkä ja Narttu,
Bang On A Can,
The Smoke,
Amon Düül,
John Foxx,
Von Mondo,
Wally Richardson,
The Leaves,
Dual Sessions,
Johnny Osbourne,
Supertramp,
The Index,
Fat Boys,
The American Breed,
The Fugs,
Soul II Soul,
Nick Fraelich,
Wolf Eyes,
Judy Mowatt,
Clear Light,
Derrick Morgan,
Minor Threat,
Kurtis Blow,
The Pop Group,
Lungfish,
DeepChord presents Echospace,
Gabor Szabo,
DNA,
the Bar-Kays,
Siglo XX,
The Sonics,
Gregory Isaacs,
Ash Ra Tempel,
Nick Cave & The Bad Seeds,
LL Cool J,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.