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 Honduras and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school New York 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 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 Scrapy to the jazz kids.
I played it at the 40 Watt.
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 Jacques Brel. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Mojo Men,
Nation of Ulysses,
The Neon Judgement,
Lucky Dragons,
June of 44,
Lyres,
Wasted Youth,
The Associates,
Ludus,
Bluetip,
Judy Mowatt,
Brothers Johnson,
Monolake,
Arab on Radar,
Kaleidoscope,
Von Mondo,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
Make Up,
Hasil Adkins,
Radiopuhelimet,
Fatback Band,
Selector Dub Narcotic,
X-101,
The Velvet Underground,
Kauko Röyhkä ja Narttu,
Black Bananas,
Howard Jones,
Barrington Levy,
Sound Behaviour,
Icehouse,
Smog,
ABC,
Crispy Ambulance,
Marc Romboy vs. Booka Shade,
Letta Mbulu,
Sonny Sharrock,
Stiv Bators,
Adolescents,
Neil Young,
Henry Cow,
Kango’s Stein Massive,
Underground Resistance,
Jerry Gold Smith,
The Litter,
Jandek,
Nils Olav,
Sticky Fingaz feat. Raekwon,
Donny Hathaway,
Todd Rundgren,
Spandau Ballet,
EPMD,
Terror Squad Feat. Camron,
B.T. Express,
The Offenders,
The American Breed,
The Skatalites,
Bootsy's Rubber Band,
Oblivians,
Symarip, Symarip, Symarip, Symarip.
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.