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 Costa Rica and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Frankie Knuckles to the jazz 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 Porter Ricks. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Rosa Yemen 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir 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?
Camron Feat. Jay Z And Juelz,
The Standells,
The Litter,
Warsaw,
F. McDonald,
Agent Orange,
Angels of Light & Akron/Family,
Gil Scott Heron,
Trumans Water,
Donald Byrd,
Bobby Womack,
Bang On A Can,
Curtis Mayfield,
Gregory Isaacs,
Drexciya,
Audionom,
the Germs,
The West Coast Pop Art Experimental Band,
The Kinks,
Public Enemy,
Ronan,
Sugar Minott,
Wally Richardson,
The Dave Clark Five,
Sad Lovers and Giants,
Camberwell Now,
Derrick May,
The Pretty Things,
Depeche Mode,
Pantytec,
Piero Umiliani,
Bang on a Can All-Stars,
Pulsallama,
Liliput,
Sex Pistols,
Banda Bassotti,
Tres Demented,
Mad Mike,
The Techniques,
Reuben Wilson,
Richard Hell and the Voidoids,
Buzzcocks,
Smog,
Johnny Osbourne,
Peter and Kerry,
The Human League,
Avey Tare,
MC5,
The Victims,
Altered Images,
Young Marble Giants,
Super Lover Cee & Casanova Rud,
Jacques Brel,
Roxy Music,
Vladislav Delay,
Popol Vuh,
These Immortal Souls,
Fear,
Crime,
The Barracudas,
Skriet,
Bizarre Inc.,
Amazonics,
The Move, The Move, The Move, The Move.
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.