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 Lebanon and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Unrelated Segments to the crunk 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 Theoretical Girls. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
X-Ray Spex,
Mo-Dettes,
Nik Kershaw,
The Wake,
Cymande,
Lou Reed,
The Toasters,
Althea and Donna,
Bad Manners,
Frankie Knuckles,
Hardrive,
Barry Ungar,
John Cale,
Index,
Gang of Four,
FM Einheit,
Pantaleimon,
Fort Wilson Riot,
Man Eating Sloth,
Lightning Bolt,
Spandau Ballet,
Sly & The Family Stone,
Fear,
Barclay James Harvest,
Drexciya,
Joyce Sims,
The Cramps,
Delta 5,
Kings Of Tomorrow,
Fat Boys,
The Royal Family And The Poor,
Skriet,
Electric Light Orchestra,
Susan Cadogan,
Smog,
Bobby Sherman,
Bootsy's Rubber Band,
Guru Guru,
Groovy Waters,
Lalann,
The American Breed,
Stereo Dub,
F. McDonald,
Gil Scott-Heron & Brian Jackson,
Marmalade,
The Doobie Brothers,
Organ,
Todd Terry,
The Black Dice,
Nick Cave & The Bad Seeds,
The Moody Blues,
Curtis Mayfield,
New Order,
Strawberry Alarm Clock,
Rekid,
The Fall,
Grey Daturas,
The Slits,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.