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 Panama and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Stockholm 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 808 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 Kevin Saunderson to the rap kids.
I played it at the Hacienda.
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 Soft Cell. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Magma,
Orchestral Manoeuvres in the Dark,
Throbbing Gristle,
Al Stewart,
Aaron Thompson,
The Star Department,
Warren Ellis,
The Young Rascals,
Bang On A Can,
Second Layer,
T.S.O.L.,
Banda Bassotti,
Joe Finger,
Bob Dylan,
Mr. Review,
Cluster,
Unrelated Segments,
Harmonia,
Bootsy's Rubber Band,
Sunsets and Hearts,
Lalann,
Peter Gordon & Love of Life Orchestra,
The American Breed,
Reuben Wilson,
Cabaret Voltaire,
Kaleidoscope,
John Coltrane,
Ituana,
Kauko Röyhkä ja Narttu,
Bang on a Can All-Stars,
Grey Daturas,
Rakim,
Wighnomy Brothers & Robag Wruhme,
Derrick Morgan,
Stetsasonic,
The Shadows of Knight,
Wally Richardson,
Thompson Twins,
Minor Threat,
Moby Grape,
Deutsch Amerikanische Freundschaft,
Talk Talk,
The Sound,
Metal Thangz,
Loose Ends,
The Gap Band,
Moss Icon,
The Monks,
Newcleus,
The Blues Magoos,
Jesper Dahlback,
Goldenarms,
Spandau Ballet,
Yusef Lateef,
Rapeman,
Leonard Cohen,
Nirvana,
the Fania All-Stars,
Sonny Sharrock,
Lindisfarne,
Stereo Dub,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.