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 Montenegro and from Jakarta.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum 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 Terrestrial Tones to the crunk kids.
I played it at Cafe Wha.
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 Ronnie Foster. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey 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?
The Techniques,
The Real Kids,
Eve St. Jones,
Warren Ellis,
Steve Hackett,
Intrusion,
Magma,
Crash Course in Science,
The Last Poets,
Yusef Lateef,
Ash Ra Tempel,
Sex Pistols,
Aloha Tigers,
Andrew Hill,
Porter Ricks,
Joensuu 1685,
Don Cherry,
The Victims,
Scott Walker,
Fad Gadget,
The Dave Clark Five,
The United States of America,
Rod Modell,
Jimmy McGriff,
Clear Light,
Spoonie Gee,
Pierre Henry,
This Heat,
Joe Smooth,
Pete Rock & C.L. Smooth,
Bobby Hutcherson,
Matthew Halsall,
Curtis Mayfield,
June of 44,
D'Angelo,
Sad Lovers and Giants,
Grandmaster Flash,
Mark Hollis,
Scratch Acid,
Rosa Yemen,
Public Enemy,
Dark Day,
New York Dolls,
It's A Beautiful Day,
Rakim,
Ludus,
James Chance & The Contortions,
Mary Jane Girls,
David Axelrod,
Fluxion,
Stetsasonic,
Model 500,
Jeru the Damaja,
June Days,
Nils Olav,
Ohio Players,
David Bowie,
The Raincoats,
The Moody Blues,
Cybotron,
Kango’s Stein Massive,
T. Rex,
MDC, MDC, MDC, MDC.
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.