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 Guatemala and from Houston.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school London 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Model 500 to the electroclash kids.
I played it at the Troubador.
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 The Black Dice. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Ten City,
David Bowie,
Deakin,
Bush Tetras,
The Smoke,
Funky Four + One,
The Moleskins,
Jeff Mills,
R.M.O.,
Notorious Big And Bone Thugs,
Terry Callier,
Juan Atkins,
Notorious BIG live in Amsterdam,
The Misunderstood,
Unrelated Segments,
Harmonia,
Mandrill,
Dual Sessions,
The Index,
Brick,
Lou Reed & Metallica,
Neu!,
Dr. Dre and Snoop Doggy Dog,
The Cure,
Peter and Kerry,
Masters at Work,
The Kinks,
Blossom Toes,
The Smiths,
Howard Jones,
Erasure,
Basic Channel,
The Stooges,
Beasts of Bourbon,
New Order,
Robert Görl,
The Grass Roots,
Connie Case,
The Evens,
Thompson Twins,
Marshall Jefferson,
Radio Birdman,
Andrew Hill,
Boogie Down Productions,
Terror Squad Feat. Camron,
Yusef Lateef,
Colin Newman,
Monks,
Ice-T,
Junior Murvin,
Khruangbin,
Aswad,
Fat Boys,
The Tremeloes,
Nils Olav,
The Dirtbombs,
Graham Central Station,
Eric B and Rakim,
The Chocolate Watch Band,
Public Enemy,
Gabor Szabo,
Excepter,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.