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 Venezuela and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Seoul 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 marimba 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 LL Cool J to the funk 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 Bobby Womack. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Suicide,
Ken Boothe,
Nation of Ulysses,
Das Ding,
The Seeds,
Barry Ungar,
Bootsy Collins,
Cecil Taylor,
The Jesus and Mary Chain,
The Monks,
Delon & Dalcan,
Franke,
Lebanon Hanover,
Joey Negro,
The Names,
Heaven 17,
Joy Division,
Albert Ayler,
Anthony Braxton,
Model 500,
Skriet,
Livin' Joy,
B.T. Express,
Art Ensemble Of Chicago,
Kerrie Biddell,
De La Soul & Jungle Brothers,
Agent Orange,
Prince Buster,
Faraquet,
Unwound,
Porter Ricks,
The Skatalites,
Bobby Womack,
The Chocolate Watch Band,
Rahsaan Roland Kirk,
Scratch Acid,
The Slits,
Sun Ra Arkestra,
Warren Ellis,
Lou Reed & John Cale,
Kauko Röyhkä ja Narttu,
DeepChord presents Echospace,
The Buckinghams,
Rites of Spring,
Tres Demented,
Ludus,
Freddie Wadling,
Leonard Cohen,
Dead Boys,
Simply Red,
Vladislav Delay,
Fat Boys,
Reuben Wilson,
Warsaw,
Aswad,
Isaac Hayes,
The Mojo Men,
Marine Girls,
A Flock of Seagulls,
Donny Hathaway,
the Slits,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.