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 Bolivia and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Jimmy McGriff to the grime kids.
I played it at Trash.
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 Zapp. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Procol Harum,
Sly & The Family Stone,
Sister Nancy,
Young Marble Giants,
Moss Icon,
Trumans Water,
Girls At Our Best!,
The Remains,
Max Romeo,
Glambeats Corp.,
The West Coast Pop Art Experimental Band,
Wasted Youth,
The Monks,
Art Ensemble Of Chicago,
Kool Moe Dee,
Yusef Lateef,
DNA,
Tomorrow,
Maurizio,
Radiopuhelimet,
Bobby Sherman,
The Electric Prunes,
Shuggie Otis,
Pere Ubu,
Kaleidoscope,
Gong,
The Gap Band,
Lalann,
John Cale,
Hashim,
The Litter,
Jacques Brel,
Agent Orange,
Sixth Finger,
Lalo Schifrin,
Dorothy Ashby,
Cal Tjader,
The Black Dice,
Scott Walker + Sunn O))),
Grey Daturas,
Flamin' Groovies,
The Flesh Eaters,
Sunsets and Hearts,
Nik Kershaw,
ABC,
Kerrie Biddell,
Grandmaster Flash and the Furious Five,
Angels of Light & Akron/Family,
Television,
Robert Wyatt,
Guru Guru,
Mad Mike,
A Certain Ratio,
Negative Approach,
DeepChord presents Echospace,
The Wake,
Hasil Adkins,
Wolf Eyes,
Gang Green,
The Raincoats,
Unrelated Segments,
Japan,
Boogie Down Productions,
Ultravox, Ultravox, Ultravox, Ultravox.
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.