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 Belarus and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1975.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Seoul 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 Donald Fagen 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 Prince Buster to the grunge 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 The Dead C. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal rap 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 a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Dark Day,
The Moody Blues,
Inner City,
Don Cherry,
Barrington Levy,
The Golliwogs,
Pharoah Sanders,
Man Eating Sloth,
Bang on a Can All-Stars,
Leonard Cohen,
Liaisons Dangereuses,
Electric Prunes,
The Real Kids,
Ossler,
Technova,
Derrick Morgan,
Gian Franco Pienzio,
Joey Negro,
A Certain Ratio,
Sexual Harrassment,
Los Fastidios,
Mo-Dettes,
Stiv Bators,
Althea and Donna,
Rosa Yemen,
Dorothy Ashby,
The Shadows of Knight,
Johnny Osbourne,
OOIOO,
Bobby Hutcherson,
Stetsasonic,
The Durutti Column,
Frankie Knuckles,
Albert Ayler,
LL Cool J,
A Flock of Seagulls,
The Kinks,
the Fania All-Stars,
Nico,
The Pretty Things,
Kauko Röyhkä ja Narttu,
Wighnomy Brothers & Robag Wruhme,
Drexciya,
New York Dolls,
The Pop Group,
Warsaw,
Peter and Kerry,
Jacques Brel,
Camouflage,
Duran Duran,
Joensuu 1685,
The Cramps,
Eric Copeland,
Smog,
Toni Rubio,
the Association,
Scion,
The Last Poets,
Arcadia,
Sun Ra,
The Stooges,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.