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 Equatorial Guinea and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Mexico City 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 Captain Beefheart 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 Fat Boys to the funk kids.
I played it at Trash.
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 West Coast Pop Art Experimental Band. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Agent Orange 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Wolf Eyes,
The Men They Couldn't Hang,
Siglo XX,
Pantytec,
Ohio Players,
Gabor Szabo,
the Association,
Pagans,
Faraquet,
The Monochrome Set,
The Neon Judgement,
Sister Nancy,
Cal Tjader,
Jeff Mills,
X-102,
The Residents,
Loose Ends,
The Sound,
Isaac Hayes,
Idris Muhammad,
Mantronix,
The Victims,
Terry Callier,
Fifty Foot Hose,
Michelle Simonal,
Man Parrish,
Schoolly D,
Rites of Spring,
Altered Images,
E-Dancer,
Richard Hell and the Voidoids,
It's A Beautiful Day,
The Alarm Clocks,
June of 44,
Boredoms,
Qualms,
Arab on Radar,
Sonny Sharrock,
Soul Sonic Force,
Wings,
Skaos,
The West Coast Pop Art Experimental Band,
The Moleskins,
Electric Prunes,
Massinfluence,
Grauzone,
Arthur Verocai,
the Soft Cell,
Eli Mardock,
Porter Ricks,
Kenny Larkin,
Livin' Joy,
Howard Jones,
Moby Grape,
Peter & Gordon,
Flash Fearless,
Lyres,
New Age Steppers,
Sight & Sound,
Excepter,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.