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 Pakistan and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Accra 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Von Mondo to the electroclash 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 Bill Wells. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Joy Division,
Ohio Players,
Blake Baxter,
The Velvet Underground,
Mission of Burma,
Donald Byrd,
Major Organ And The Adding Machine,
Y Pants,
10cc,
The United States of America,
Hasil Adkins,
Grauzone,
Bobby Womack,
Idris Muhammad,
Alison Limerick,
Piero Umiliani,
John Lydon,
The Sonics,
Pete Rock & C.L. Smooth,
Tomorrow,
Be Bop Deluxe,
Jacob Miller,
John Coltrane,
Outsiders,
Davy DMX,
Mark Hollis,
Jesper Dahlback,
Flash Fearless,
Dennis Brown,
Moss Icon,
Bobby Byrd,
Circle Jerks,
Rowland S Howard / Lydia Lunch,
Von Mondo,
Arcadia,
The New Christs,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
The Mighty Diamonds,
The Slackers,
Derrick May,
Larry & the Blue Notes,
Sly & The Family Stone,
Oppenheimer Analysis,
The Human League,
Excepter,
Flipper,
Fela Kuti,
Lee Hazlewood,
The Doors,
Lalann,
Echo & the Bunnymen,
The Cure,
Bizarre Inc.,
Sight & Sound,
Sonic Youth,
Henry Cow,
The Red Krayola,
Rhythm & Sound,
Curtis Mayfield,
Faraquet, Faraquet, Faraquet, Faraquet.
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.