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 Andorra and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Cairo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Sugar Minott to the dance kids.
I played it at the Astoria.
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 Rosa Yemen. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Mars,
the Swans,
Dual Sessions,
Jimmy McGriff,
Camron Feat. Jay Z And Juelz,
Chris Corsano,
Chris & Cosey,
Marine Girls,
Graham Central Station,
Harmonia,
Amon Düül,
Scott Walker,
Traffic Nightmare,
H. Thieme,
Camberwell Now,
Symarip,
John Foxx,
Average White Band,
Kas Product,
Byron Stingily,
Quadrant,
Rod Modell,
Model 500,
Simply Red,
Mission of Burma,
Notorious BIG live in Amsterdam,
Suburban Knight,
Prince Buster,
Ohio Players,
Gong,
Danielle Patucci,
Ash Ra Tempel,
Clear Light,
The Dead C,
Aswad,
Bob Dylan,
The Martian,
Technova,
James White and The Blacks,
Loose Ends,
Guru Guru,
Stockholm Monsters,
Accadde A,
Susan Cadogan,
the Normal,
Scan 7,
X-Ray Spex,
Deakin,
Eric Dolphy,
the Association,
Ultra Naté,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warsaw,
Blossom Toes,
Pierre Henry,
Larry & the Blue Notes,
Angry Samoans,
Bobby Byrd,
Desert Stars,
New Age Steppers,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.