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 Spain and from London.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 oboe 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 Quadrant to the funk kids.
I played it at the Troubador.
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 Jesper Dahlbäck. All the underground hits.
All Bang On A Can 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 dance 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 a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Thinking Fellers Union Local 282,
Pantaleimon,
Boz Scaggs,
Flamin' Groovies,
Peter Gordon & Love of Life Orchestra,
Leonard Cohen,
Byron Stingily,
Rhythm & Sound,
Q and Not U,
ABC,
Pharaoh Sanders and the Fire Engines,
the Normal,
The Last Poets,
Vaughan Mason & Crew,
The Cosmic Jokers,
Japan,
The Blues Magoos,
Slave,
Ludus,
Cheater Slicks,
Negative Approach,
Harmonia,
PIL,
De La Soul & Jungle Brothers,
Ten City,
Nas,
Average White Band,
T. Rex,
Liaisons Dangereuses,
Minutemen,
Soul II Soul,
Joyce Sims,
Jesper Dahlback,
Babytalk,
Eden Ahbez,
Gastr Del Sol,
Kerrie Biddell,
Lou Christie,
Agent Orange,
Wings,
Sam Rivers,
The Litter,
Tears for Fears,
Main Source,
The Happenings,
Connie Case,
Bobby Hutcherson,
Archie Shepp,
Delon & Dalcan,
Massinfluence,
Freddie Wadling,
Newcleus,
Sunsets and Hearts,
Glenn Branca,
The Dave Clark Five,
Depeche Mode,
Mandrill,
Alice Coltrane,
Marmalade,
Tommy Roe,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.