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 Belgium and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Salvador 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 organ 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 Gregory Isaacs to the rock kids.
I played it at the Roxy.
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 Major Organ And The Adding Machine. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Lower 48,
Yellowson,
Scion,
Avey Tare & Kría Brekkan,
Ultra Naté,
Altered Images,
Rhythm & Sound,
Main Source,
Black Flag,
Liaisons Dangereuses,
Crispian St. Peters,
Alton Ellis,
Kerrie Biddell,
Cameo,
Fela Kuti,
a-ha,
Anthony Braxton,
Ornette Coleman,
The Invisible,
The Detroit Cobras,
Essential Logic,
Smog,
Sister Nancy,
The Velvet Underground,
Ash Ra Tempel,
The Move,
Bauhaus,
De La Soul & Jungle Brothers,
Infiniti,
The Victims,
The Peanut Butter Conspiracy,
A Certain Ratio,
The Gap Band,
World's Most,
John Lydon,
The Monochrome Set,
The Selecter,
Talk Talk,
Flipper,
Mandrill,
the Bar-Kays,
Kas Product,
Johnny Osbourne,
Nico,
Sad Lovers and Giants,
Kauko Röyhkä ja Narttu,
Bob Dylan,
Gary Puckett & The Union Gap,
Jeru the Damaja,
Little Man,
The Remains,
Dawn Penn,
Nirvana,
Adolescents,
Sly & The Family Stone,
Young Marble Giants,
The Flesh Eaters,
Schoolly D,
Aaron Thompson,
Country Joe & The Fish,
Japan,
Livin' Joy,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.