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 Namibia and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 Liaisons Dangereuses to the jazz 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 The Five Americans. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Loose Ends,
Procol Harum,
The Sisters of Mercy,
Peter Gordon & Love of Life Orchestra,
DNA,
Blancmange,
Eli Mardock,
Scientists,
The Saints,
Dual Sessions,
Patti Smith,
Todd Terry,
Sarah Menescal,
Stiv Bators,
Half Japanese,
Livin' Joy,
Gichy Dan,
Rapeman,
John Lydon,
The Pretty Things,
The Mummies,
The Blues Magoos,
The Dirtbombs,
Surgeon,
Wally Richardson,
Sad Lovers and Giants,
Interpol,
Visionaries,LMNO, T- Love & Iriscience,
Frankie Knuckles,
Avey Tare & Kría Brekkan,
Faust,
Grauzone,
Bootsy's Rubber Band,
Bizarre Inc.,
Lyres,
Pussy Galore,
Bobby Sherman,
The Trojans,
Archie Shepp,
Quando Quango,
The Young Rascals,
Brothers Johnson,
Yellowson,
Ultra Naté,
Radio Birdman,
Electric Prunes,
Laurel Aitken,
Max Romeo,
Pagans,
Graham Central Station,
Quantec,
Kauko Röyhkä ja Narttu,
the Bar-Kays,
U.S. Maple,
Stereo Dub,
The Vogues,
David Axelrod,
Sunsets and Hearts,
Alice Coltrane,
Brick, Brick, Brick, Brick.
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.