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 Haiti and from Tokyo.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
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 snare 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 Popol Vuh to the grime kids.
I played it at Cafe Wha.
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 Laurel Aitken. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Matthew Halsall 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 '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Albert Ayler,
Fatback Band,
The Busters,
The Slits,
Sunsets and Hearts,
The Slackers,
Fat Boys,
Lou Reed,
Slave,
Davy DMX,
Lee Hazlewood,
Slick Rick,
the Bar-Kays,
Gang Gang Dance,
Fugazi,
Massinfluence,
Marcia Griffiths,
Whodini,
Soft Machine,
Ajijia Myrayebe,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlbäck,
EPMD,
Absolute Body Control,
Crispy Ambulance,
Inner City,
DNA,
The Gories,
The Victims,
Robert Hood,
Jacques Brel,
Marc Almond,
One Last Wish,
Flash Fearless,
Roxette,
The Chocolate Watch Band,
Harpers Bizarre,
Liaisons Dangereuses,
Letta Mbulu,
Section 25,
Joyce Sims,
Country Teasers,
Agitation Free,
Parry Music,
Kas Product,
Bluetip,
The Mojo Men,
Theoretical Girls,
Can,
DJ Sneak,
Lucky Dragons,
Simply Red,
Half Japanese,
The Black Dice,
Joe Finger,
Ultramagnetic MC's,
Wally Richardson,
The Offenders,
The Trojans,
James White and The Blacks,
Stiv Bators,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.