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 Togo and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Roy Ayers to the jazz kids.
I played it at the Hacienda.
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 Motions. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Pylon,
Toni Rubio,
Kauko Röyhkä ja Narttu,
John Holt,
MC5,
a-ha,
Funkadelic,
This Heat,
The Golliwogs,
The Names,
The Electric Prunes,
Von Mondo,
cv313,
Johnny Osbourne,
Faraquet,
Loose Ends,
Make Up,
Idris Muhammad,
Pere Ubu,
Outsiders,
The Fire Engines,
David Bowie,
Au Pairs,
Sticky Fingaz feat. Raekwon,
Subhumans,
Tomorrow,
Hoover,
Scratch Acid,
Robert Wyatt,
Jacques Brel,
Don Cherry,
Justin Hinds & The Dominoes,
Wally Richardson,
the Human League,
Mo-Dettes,
Lightning Bolt,
Ash Ra Tempel,
Ornette Coleman,
The Techniques,
Rotary Connection,
FM Einheit,
Ralphi Rosario,
The Black Dice,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kayak,
Scion,
Kevin Saunderson,
The Fugs,
Glenn Branca,
Cecil Taylor,
Minor Threat,
The Birthday Party,
Notorious Big And Bone Thugs,
Oblivians,
The Saints,
Black Flag,
Judy Mowatt,
Maleditus Sound,
Lee Hazlewood,
The Music Machine,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.