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 Benin and from Portland.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Winnipeg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 John Holt to the disco kids.
I played it at the Spitz.
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 Shadows of Knight. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Lightning Bolt,
The Residents,
the Fania All-Stars,
Jesper Dahlback,
Warren Ellis,
Sound Behaviour,
Stereo Dub,
Simply Red,
Little Man,
The Electric Prunes,
Sunsets and Hearts,
Avey Tare's Slasher Flicks,
Bobby Hutcherson,
Neu!,
Anthony Braxton,
Camberwell Now,
Jacob Miller,
Lindisfarne,
The Pop Group,
Rites of Spring,
Curtis Mayfield,
FM Einheit,
Arab on Radar,
Spoonie Gee,
The Dirtbombs,
Connie Case,
the Normal,
New York Dolls,
Panda Bear,
China Crisis,
Fort Wilson Riot,
James White and The Blacks,
Tommy Roe,
Jimmy McGriff,
Bill Near,
Girls At Our Best!,
ABC,
Charles Mingus,
Ultravox,
Underground Resistance,
Wolf Eyes,
Ohio Players,
Eli Mardock,
John Holt,
Ossler,
Marshall Jefferson,
Eurythmics,
Spandau Ballet,
Kevin Saunderson,
Quadrant,
Terry Callier,
Al Stewart,
H. Thieme,
Eric Dolphy,
Glambeats Corp.,
Minor Threat,
Deakin,
Desert Stars,
Terror Squad Feat. Camron,
Brothers Johnson,
The Standells, The Standells, The Standells, The Standells.
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.