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 Kosovo and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Don Cherry to the rock kids.
I played it at the Crocodile.
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 Arthur Verocai. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Walker Brothers 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a DNA 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?
The Offenders,
Eurythmics,
The Count Five,
Jerry Gold Smith,
Yazoo,
Symarip,
Lungfish,
Duran Duran,
Liliput,
Robert Hood,
Jesper Dahlbäck,
ABC,
Camron Feat. Jay Z And Juelz,
Scrapy,
Mark Hollis,
Eyeless In Gaza,
John Holt,
Gang of Four,
Archie Shepp,
Oblivians,
Kerrie Biddell,
The Neon Judgement,
Funkadelic,
James White and The Blacks,
Technova,
Mr. Review,
Babytalk,
Goldenarms,
Excepter,
Thee Headcoats,
The Alarm Clocks,
Crash Course in Science,
Andrew Ashong & Theo Parrish,
Lou Reed & Metallica,
David Axelrod,
Pierre Henry,
Swans,
The Fugs,
The Zeros,
Idris Muhammad,
Tres Demented,
Dual Sessions,
A Flock of Seagulls,
Judy Mowatt,
Animal Collective,
The Durutti Column,
Fugazi,
Deepchord,
Wings,
Banda Bassotti,
The Buckinghams,
Kevin Saunderson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
Cecil Taylor,
Mars,
Vladislav Delay,
Kool Moe Dee,
Desert Stars,
Von Mondo,
Junior Murvin,
Average White Band, Average White Band, Average White Band, Average White Band.
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.