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 Madagascar and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Toronto 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 marimba 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 Robert Hood to the techno 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 Crash Course in Science. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Robert Wyatt,
The Pop Group,
Circle Jerks,
Roger Hodgson,
The Standells,
Jimmy McGriff,
Sly & The Family Stone,
Shoche,
Symarip,
Erykah Badu,
The Blackbyrds,
Robert Görl,
Angels of Light & Akron/Family,
Anthony Braxton,
Nation of Ulysses,
Bobby Sherman,
Kas Product,
Nils Olav,
Vaughan Mason & Crew,
Lafayette Afro Rock Band,
Yellowson,
Shuggie Otis,
The Sonics,
The Walker Brothers,
Heavy D & The Boyz,
Judy Mowatt,
Morten Harket,
Radiopuhelimet,
Jacques Brel,
Gang of Four,
Tommy Roe,
The Raincoats,
Main Source,
Wire,
Buzzcocks,
Yusef Lateef,
Brand Nubian,
The Invisible,
Angry Samoans,
Can,
PIL,
Half Japanese,
Surgeon,
The Kinks,
James White and The Blacks,
Silicon Teens,
Marc Romboy vs. Booka Shade,
Nirvana,
Anakelly,
Sun Ra,
Barrington Levy,
Fifty Foot Hose,
Deepchord,
Kango’s Stein Massive,
The Last Poets,
Ken Boothe,
Terry Callier,
Hoover,
Mark Hollis,
Reagan Youth,
Soft Machine,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.