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 Ethiopia and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
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 spring reverb sounds with much patience.
I was there when Lou Reed 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 The Pretty Things to the jazz kids.
I played it at the Astoria.
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 Reuben Wilson. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Ten City 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 '90s.
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 Pulsallama record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Offenders,
Gary Puckett & The Union Gap,
Chrome,
The Dead C,
Godley & Creme,
Lakeside,
Aswad,
Charles Mingus,
Jerry's Kids,
Anakelly,
Trumans Water,
Sticky Fingaz feat. Raekwon,
Fela Kuti,
Ajijia Myrayebe,
The Trojans,
Black Moon,
Dark Day,
The Slits,
Andrew Hill,
Pulsallama,
Louis and Bebe Barron,
The Stooges,
Lizzy Mercier Descloux,
The Black Dice,
Negative Approach,
Shuggie Otis,
Von Mondo,
The Fall,
Colin Newman,
Q65,
Bang On A Can,
Steve Hackett,
Procol Harum,
Interpol,
Gang Gang Dance,
Basic Channel,
Marmalade,
Essential Logic,
Crime,
David McCallum,
Fear,
B.T. Express,
a-ha,
Letta Mbulu,
Qualms,
Kings Of Tomorrow,
Motorama,
World's Most,
Scrapy,
Amazonics,
The Techniques,
Yaz,
Vladislav Delay,
Lyres,
Alton Ellis,
The Evens,
Barbara Tucker,
Hot Snakes,
Niagra,
Aural Exciters,
Ultra Naté,
Electric Prunes,
Flipper, Flipper, Flipper, Flipper.
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.