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 Samoa and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Portland 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 organ sounds with much patience.
I was there when Holger Czukay 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 Moby Grape to the disco kids.
I played it at the Roxy.
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 Don Cherry. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Bootsy Collins,
Bill Wells,
Kevin Saunderson,
Masters at Work,
Pussy Galore,
Spandau Ballet,
Oppenheimer Analysis,
Bobbi Humphrey,
Boogie Down Productions,
Lungfish,
Gang Gang Dance,
Mantronix,
Iggy Pop,
The Peanut Butter Conspiracy,
Oblivians,
Main Source,
Dark Day,
Crispy Ambulance,
Basic Channel,
Magma,
Con Funk Shun,
Lou Christie,
Reagan Youth,
Delon & Dalcan,
Connie Case,
Terrestrial Tones,
Trumans Water,
Louis and Bebe Barron,
Grandmaster Flash and the Furious Five,
Robert Görl,
Severed Heads,
John Cale,
Hasil Adkins,
The Gories,
Jerry's Kids,
Tubeway Army,
Lebanon Hanover,
K-Klass,
Jeru the Damaja,
Guru Guru,
Ohio Players,
Nick Fraelich,
Sugar Minott,
Shuggie Otis,
Drive Like Jehu,
Vainqueur,
Minor Threat,
Gang Starr,
Be Bop Deluxe,
Siglo XX,
Groovy Waters,
Skaos,
Big Daddy Kane,
Cabaret Voltaire,
Schoolly D,
Josef K,
Marvin Gaye,
Magazine,
It's A Beautiful Day,
Visionaries,LMNO, T- Love & Iriscience,
Dual Sessions,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.