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 Kyrgyzstan and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Lille 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 808 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 Marc Almond to the grunge 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 Pierre Henry. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Heaven 17,
Kool Moe Dee,
Idris Muhammad,
Wally Richardson,
Charles Mingus,
The Moody Blues,
The Smoke,
The Walker Brothers,
Brass Construction,
The Slackers,
Slick Rick,
Marc Almond,
DNA,
Donald Byrd,
Josef K,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Trojans,
Livin' Joy,
The Offenders,
Jimmy McGriff,
Maleditus Sound,
Pantytec,
Cal Tjader,
X-Ray Spex,
Roy Ayers Ubiquity,
Boz Scaggs,
Laurel Aitken,
Pharaoh Sanders and the Fire Engines,
Dennis Brown,
The Barracudas,
The Index,
Rakim,
The Doobie Brothers,
Nation of Ulysses,
Bootsy's Rubber Band,
Ultra Naté,
John Foxx,
X-102,
Johnny Osbourne,
Crash Course in Science,
The Golliwogs,
London Community Gospel Choir,
Guru Guru,
Jeff Lynne,
Siglo XX,
Funkadelic,
Prince Buster,
LL Cool J,
Vainqueur,
Andrew Ashong & Theo Parrish,
Arthur Verocai,
Drive Like Jehu,
Unwound,
The Fuzztones,
Fluxion,
La Düsseldorf,
KRS-One,
Tubeway Army,
the Association, the Association, the Association, the Association.
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.