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 Greece and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Stockholm 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 snare sounds with much patience.
I was there when Lou Reed 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 Charles Mingus to the jazz kids.
I played it at the Spitz.
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 Skriet. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Josef K,
The Velvet Underground,
PIL,
the Association,
Terrestrial Tones,
Monks,
Red Lorry Yellow Lorry,
Sugar Minott,
Inner City,
Laurel Aitken,
Technova,
Ornette Coleman,
The Cramps,
James White and The Blacks,
Cluster,
Pantytec,
Depeche Mode,
Roy Ayers Ubiquity,
The Cowsills,
ABBA,
Nik Kershaw,
Franke,
Ponytail,
Television,
CMW,
Glenn Branca,
Rotary Connection,
The Walker Brothers,
Lower 48,
DJ Sneak,
Neil Young,
Goldenarms,
Matthew Bourne,
Audionom,
Ultravox,
Sad Lovers and Giants,
The Star Department,
Metal Thangz,
Spoonie Gee,
Junior Murvin,
Rhythm & Sound,
Quantec,
The Victims,
Magma,
Henry Cow,
Deepchord,
Gang Green,
Reuben Wilson,
Major Organ And The Adding Machine,
Los Fastidios,
Kings Of Tomorrow,
Scrapy,
Bronski Beat,
Eric Copeland,
the Fania All-Stars,
London Community Gospel Choir,
AZ,
Black Moon,
Tomorrow,
Visage, Visage, Visage, Visage.
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.