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 Lille.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Seoul.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Camouflage 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 Sexual Harrassment. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Marc Almond,
Jesper Dahlback,
Cybotron,
Visionaries,LMNO, T- Love & Iriscience,
Whodini,
The Music Machine,
Subhumans,
Röyhkä ja Rättö ja Lehtisalo,
Al Stewart,
The United States of America,
Pylon,
Nick Fraelich,
Slick Rick,
Blake Baxter,
Minnie Riperton,
Carl Craig,
Sunsets and Hearts,
The Zeros,
Alphaville,
The Misunderstood,
Henry Cow,
Max Romeo,
The Offenders,
A Certain Ratio,
The Index,
Kool Moe Dee,
cv313,
Kurtis Blow,
Crash Course in Science,
The Cosmic Jokers,
Cecil Taylor,
Ralphi Rosario,
Joyce Sims,
Pete Rock & C.L. Smooth,
Stereo Dub,
Kauko Röyhkä ja Narttu,
Man Eating Sloth,
ABBA,
X-101,
The Grass Roots,
Ituana,
Talk Talk,
Soft Machine,
Boredoms,
Panda Bear,
Severed Heads,
Jesper Dahlbäck,
the Germs,
Animal Collective,
The Electric Prunes,
The Dead C,
Loose Ends,
Infiniti,
Mad Mike,
Roxette,
Pagans,
Cal Tjader,
Dorothy Ashby,
PIL,
Isaac Hayes,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.