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 Panama and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Sugar Minott to the rap 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 Man Parrish. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Be Bop Deluxe,
Bobby Sherman,
Susan Cadogan,
The Index,
Marvin Gaye,
Moby Grape,
Joyce Sims,
Marc Almond,
kango's stein massive,
The Stooges,
Oppenheimer Analysis,
Masters at Work,
Ultramagnetic MC's,
Y Pants,
The Barracudas,
This Heat,
The Associates,
Captain Beefheart & His Magic Band,
Urselle,
Circle Jerks,
Altered Images,
E-Dancer,
Deakin,
Soft Machine,
Wighnomy Brothers & Robag Wruhme,
Accadde A,
Unwound,
Prince Buster,
Buzzcocks,
Roy Ayers Ubiquity,
Monolake,
London Community Gospel Choir,
The Knickerbockers,
Nico,
Black Flag,
Swell Maps,
The Dead C,
Heaven 17,
New York Dolls,
DJ Sneak,
Newcleus,
Scion,
Pulsallama,
Technova,
Dorothy Ashby,
Agent Orange,
Half Japanese,
Eurythmics,
Terry Callier,
The Detroit Cobras,
Harmonia,
Derrick May,
Roy Ayers,
The Searchers,
Echo & the Bunnymen,
John Foxx,
Ash Ra Tempel,
Rhythm & Sound,
Eve St. Jones,
Notorious BIG live in Amsterdam,
Fat Boys,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.