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 Bulgaria and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Ornette Coleman 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 Donald Byrd. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Freddie Wadling,
Selector Dub Narcotic,
Pantaleimon,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Eric B and Rakim,
Flash Fearless,
Marc Romboy vs. Booka Shade,
Man Eating Sloth,
The American Breed,
Pierre Henry,
Kurtis Blow,
Supertramp,
Subhumans,
Organ,
Nils Olav,
Neu!,
Cymande,
The Birthday Party,
Al Stewart,
Magazine,
The Sound,
Sandy B,
Tears for Fears,
These Immortal Souls,
China Crisis,
Oppenheimer Analysis,
8 Eyed Spy,
Marcia Griffiths,
Ash Ra Tempel,
Oneida,
Avey Tare,
Andrew Ashong & Theo Parrish,
Morten Harket,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
Gil Scott Heron,
Yellowson,
The Fire Engines,
Glenn Branca,
Byron Stingily,
The Index,
The Skatalites,
The Electric Prunes,
Idris Muhammad,
Peter & Gordon,
Max Romeo,
Scratch Acid,
The Happenings,
Dave Gahan,
Joe Smooth,
Siouxsie and the Banshees,
Mary Jane Girls,
Nick Cave & The Bad Seeds,
Electric Prunes,
The Slits,
Black Sheep,
Masters at Work,
The Alarm Clocks,
The West Coast Pop Art Experimental Band,
Second Layer,
Crash Course in Science,
Smog, Smog, Smog, Smog.
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.