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 Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the guitar 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 JFA to the electroclash kids.
I played it at the 40 Watt.
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 Urselle. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Masters at Work 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Faust,
The Litter,
David Axelrod,
Avey Tare & Kría Brekkan,
Glambeats Corp.,
Con Funk Shun,
Soft Machine,
Warren Ellis,
The Pop Group,
The Wake,
Vaughan Mason & Crew,
Technova,
Sparks,
Jeff Mills,
Art Ensemble Of Chicago,
The Offenders,
Marmalade,
Moebius,
Eric Copeland,
Lyres,
Aswad,
Darondo,
OOIOO,
Electric Light Orchestra,
Fear,
Mantronix,
Scientists,
MDC,
Oblivians,
Sister Nancy,
Marine Girls,
The United States of America,
The Monochrome Set,
Liaisons Dangereuses,
Roy Ayers,
DJ Style,
Lou Reed,
Grandmaster Flash,
Steve Hackett,
Gary Puckett & The Union Gap,
The Black Dice,
the Bar-Kays,
the Sonics,
The Cowsills,
Dave Gahan,
Magazine,
Yusef Lateef,
The Jesus and Mary Chain,
Outsiders,
Khruangbin,
Amon Düül,
Youth Brigade,
Procol Harum,
The Selecter,
Grauzone,
The Misunderstood,
Mandrill,
Tom Boy,
Ornette Coleman,
Roxette,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.