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 Japan and from Woodstock.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Gil Scott-Heron & Brian Jackson to the grime 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 Grey Daturas. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective 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?
Rod Modell,
The Cowsills,
The Beau Brummels,
Masters at Work,
The Move,
Sly & The Family Stone,
Bootsy's Rubber Band,
8 Eyed Spy,
Liliput,
Franke,
Dawn Penn,
Tommy Roe,
Organ,
The Sisters of Mercy,
the Swans,
John Holt,
Rufus Thomas,
Rhythm & Sound,
Roy Ayers Ubiquity,
Sight & Sound,
Siouxsie and the Banshees,
Harpers Bizarre,
Parry Music,
Frankie Knuckles,
Deutsch Amerikanische Freundschaft,
Gil Scott-Heron and Jamie xx,
Public Image Ltd.,
Section 25,
Skarface,
Dead Boys,
Liaisons Dangereuses,
Pantytec,
Notorious BIG live in Amsterdam,
Heaven 17,
Little Man,
Rowland S Howard / Lydia Lunch,
Wighnomy Brothers & Robag Wruhme,
Boogie Down Productions,
Pulsallama,
Sun City Girls,
The Techniques,
Sonny Sharrock,
Cabaret Voltaire,
The Peanut Butter Conspiracy,
The Sound,
Skaos,
Radiopuhelimet,
Alison Limerick,
Beasts of Bourbon,
CMW,
Super Lover Cee & Casanova Rud,
PIL,
Chris Corsano,
X-101,
Lucky Dragons,
Interpol,
Erykah Badu,
One Last Wish,
Marcia Griffiths,
Kool Moe Dee,
The Monochrome Set,
Henry Cow,
Derrick May,
Big Daddy Kane,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.