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 Ireland and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
I'm losing my edge to the art-school Tehran 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 Michael McDonald 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 Cameo to the funk kids.
I played it at the Crocodile.
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 Freddie Wadling. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Graham Central Station 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Major Organ And The Adding Machine,
June of 44,
Angry Samoans,
the Soft Cell,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Parry Music,
Gang Starr,
LL Cool J,
Hashim,
Radiopuhelimet,
Tommy Roe,
Sarah Menescal,
Severed Heads,
Matthew Halsall,
Gastr Del Sol,
Fad Gadget,
The Slits,
kango's stein massive,
Sandy B,
Sexual Harrassment,
Barclay James Harvest,
Maleditus Sound,
The Jesus and Mary Chain,
The Monks,
Yazoo,
James Chance & The Contortions,
Cymande,
Idris Muhammad,
The Techniques,
Patti Smith,
Manfred Mann's Earth Band,
Kayak,
Piero Umiliani,
Ralphi Rosario,
Make Up,
Model 500,
Smog,
Archie Shepp,
Moebius,
Jacques Brel,
Thee Headcoats,
Essential Logic,
The Gun Club,
Gerry Rafferty,
Kaleidoscope,
Cal Tjader,
A Flock of Seagulls,
Deakin,
Sugar Minott,
Desert Stars,
Yusef Lateef,
Frankie Knuckles,
Johnny Clarke,
Qualms,
Loose Ends,
Anthony Braxton,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.