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 Papua New Guinea and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Houston 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 güiro 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 Kas Product to the techno kids.
I played it at the 40 Watt.
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 Lyres. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Yusef Lateef 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 '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Cecil Taylor,
The Barracudas,
Scrapy,
Chris & Cosey,
JFA,
K-Klass,
Procol Harum,
The Remains,
Jerry Gold Smith,
Soft Machine,
Boredoms,
The Pretty Things,
Livin' Joy,
London Community Gospel Choir,
AZ,
Lou Christie,
Bill Wells,
Jesper Dahlbäck,
Youth Brigade,
The Neon Judgement,
Ajijia Myrayebe,
The Slackers,
Saccharine Trust,
the Human League,
Roy Ayers Ubiquity,
Pylon,
Sugar Minott,
Ultramagnetic MC's,
Shuggie Otis,
The Saints,
Pete Rock & C.L. Smooth,
Severed Heads,
The West Coast Pop Art Experimental Band,
CMW,
The Offenders,
Roxy Music,
Minor Threat,
Zero Boys,
Lou Reed & Metallica,
In Retrospect,
Franke,
Japan,
Adolescents,
Peter Gordon & Love of Life Orchestra,
Make Up,
Rufus Thomas,
Robert Hood,
Be Bop Deluxe,
U.S. Maple,
Tears for Fears,
Röyhkä ja Rättö ja Lehtisalo,
Eli Mardock,
Bang On A Can,
Simply Red,
The Walker Brothers,
The Selecter,
Thompson Twins,
Glambeats Corp.,
MC5,
Public Image Ltd.,
Scientists,
Technova, Technova, Technova, Technova.
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.