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 Zimbabwe and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Pharoah Sanders to the crunk 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 Au Pairs. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Peter Gordon & Love of Life Orchestra,
Swans,
Oppenheimer Analysis,
X-102,
Bob Dylan,
The Star Department,
Deadbeat,
Piero Umiliani,
The Toasters,
The Invisible,
8 Eyed Spy,
June Days,
Drexciya,
Siouxsie and the Banshees,
New York Dolls,
Ludus,
Kurtis Blow,
Ash Ra Tempel,
Derrick May,
Marc Romboy vs. Booka Shade,
Althea and Donna,
Dennis Brown,
The Associates,
Bobby Sherman,
Marc Almond,
Brick,
The Litter,
Warren Ellis,
James White and The Blacks,
Charles Mingus,
Wighnomy Brothers & Robag Wruhme,
Boogie Down Productions,
Donny Hathaway,
London Community Gospel Choir,
The Count Five,
Todd Rundgren,
Tomorrow,
Avey Tare,
Eli Mardock,
ABBA,
kango's stein massive,
Röyhkä ja Rättö ja Lehtisalo,
Sällskapet,
Andrew Ashong & Theo Parrish,
Laurel Aitken,
Pagans,
Howard Jones,
Archie Shepp,
MC5,
Red Lorry Yellow Lorry,
Freddie Wadling,
Ultravox,
Cluster,
Lee Hazlewood,
Gang Green,
Gang of Four,
Sunsets and Hearts,
Theoretical Girls,
Spandau Ballet,
Pete Rock & C.L. Smooth,
Goldenarms,
Angels of Light & Akron/Family,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.