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 Iceland and from Lagos.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Beijing 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Sam Rivers to the grime 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 The Misunderstood. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Deepchord,
The Victims,
JFA,
The Doors,
Tears for Fears,
Royal Trux,
Andrew Ashong & Theo Parrish,
Soul Sonic Force,
Con Funk Shun,
Jeru the Damaja,
Nirvana,
Pete Rock & C.L. Smooth,
Siouxsie and the Banshees,
Kango’s Stein Massive,
Mad Mike,
Technova,
Wasted Youth,
Andrew Hill,
The Residents,
Television,
Notorious Big And Bone Thugs,
World's Most,
Johnny Clarke,
Gang Gang Dance,
Pet Shop Boys,
T. Rex,
David Axelrod,
Icehouse,
Negative Approach,
The Standells,
Swell Maps,
Smog,
Absolute Body Control,
Rhythim Is Rhythim,
Bill Wells,
Joey Negro,
Susan Cadogan,
ABBA,
Gil Scott-Heron and Jamie xx,
The Index,
the Bar-Kays,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Move,
The Cosmic Jokers,
Monks,
Whodini,
Parry Music,
Agent Orange,
Liaisons Dangereuses,
The Zeros,
Todd Rundgren,
Richard Hell and the Voidoids,
Terror Squad Feat. Camron,
cv313,
Public Image Ltd.,
Justin Hinds & The Dominoes,
The Names,
Amon Düül II,
Cybotron,
The Litter,
Heavy D & The Boyz,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.