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 Mongolia and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Portland 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 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 The Fire Engines to the techno 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 F. McDonald. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Skriet,
Mo-Dettes,
Boogie Down Productions,
The Kinks,
The Young Rascals,
Main Source,
Popol Vuh,
The Dead C,
Make Up,
Skaos,
Ken Boothe,
Junior Murvin,
the Association,
John Lydon,
Bang On A Can,
Gil Scott Heron,
Underground Resistance,
The Golliwogs,
Dark Day,
Das Ding,
Von Mondo,
Scion,
Godley & Creme,
Reagan Youth,
It's A Beautiful Day,
The Electric Prunes,
The Techniques,
Blossom Toes,
FM Einheit,
Pussy Galore,
Unrelated Segments,
Erasure,
The Mighty Diamonds,
Rod Modell,
Gregory Isaacs,
Black Sheep,
Accadde A,
Youth Brigade,
Soft Machine,
Bob Dylan,
Ludus,
The Motions,
Scientists,
Steve Hackett,
Brick,
Quadrant,
Marc Almond,
Country Joe & The Fish,
Ronnie Foster,
Bush Tetras,
Bluetip,
One Last Wish,
DJ Sneak,
Rosa Yemen,
Kenny Larkin,
The Red Krayola,
Shoche,
A Certain Ratio,
The Count Five,
Sonny Sharrock,
The Skatalites,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.