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 Finland and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Tokyo 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 güiro 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 La Düsseldorf to the rap 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 Aswad. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash,
Echo & the Bunnymen,
Nation of Ulysses,
Kango’s Stein Massive,
Motorama,
Marcia Griffiths,
These Immortal Souls,
Marc Romboy vs. Booka Shade,
The Busters,
The Cure,
the Germs,
Faraquet,
Basic Channel,
Ken Boothe,
Blake Baxter,
Archie Shepp,
The Black Dice,
Main Source,
Siglo XX,
kango's stein massive,
Gian Franco Pienzio,
the Normal,
Cecil Taylor,
Rapeman,
Negative Approach,
Electric Prunes,
Kerri Chandler,
One Last Wish,
Bauhaus,
Khruangbin,
Lower 48,
The Monochrome Set,
Youth Brigade,
Section 25,
Angry Samoans,
Agent Orange,
Goldenarms,
Crash Course in Science,
The Associates,
Banda Bassotti,
Eddi Front,
Nick Cave & The Bad Seeds,
Chrome,
Kings Of Tomorrow,
Model 500,
Eurythmics,
Crispy Ambulance,
Suicide,
Scratch Acid,
Pantytec,
Delon & Dalcan,
Ultravox,
The Zeros,
Liaisons Dangereuses,
Brick,
Ituana,
JFA, JFA, JFA, JFA.
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.