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 Liberia and from Portland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Alice Coltrane to the grime kids.
I played it at Trash.
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 Godley & Creme. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Outsiders 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Half Japanese,
Gil Scott-Heron and Jamie xx,
Freddie Wadling,
Bob Dylan,
John Foxx,
Warren Ellis,
X-102,
Rapeman,
Judy Mowatt,
Minnie Riperton,
The Index,
Moss Icon,
Lindisfarne,
Ludus,
The Moleskins,
The Offenders,
Basic Channel,
Hoover,
Pharoah Sanders,
Sight & Sound,
Nils Olav,
Kaleidoscope,
The Cosmic Jokers,
James White and The Blacks,
Avey Tare's Slasher Flicks,
Gang Gang Dance,
Loose Ends,
Lou Reed & John Cale,
Anakelly,
Index,
Sly & The Family Stone,
Can,
Eurythmics,
Laurel Aitken,
The Seeds,
Monolake,
The Red Krayola,
Oneida,
the Swans,
Kerri Chandler,
Metal Thangz,
Crime,
Mr. Review,
Marcia Griffiths,
Captain Beefheart & His Magic Band,
Wasted Youth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sex Pistols,
Minutemen,
The Blues Magoos,
Bauhaus,
Blancmange,
Stetsasonic,
Curtis Mayfield,
Camouflage,
Dorothy Ashby,
Jimmy McGriff,
Thee Headcoats,
the Fania All-Stars,
Terror Squad Feat. Camron,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.