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 Nicaragua and from Stockholm.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school Manila 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Soulsonic Force to the crunk kids.
I played it at the 40 Watt.
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 Theoretical Girls. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Severed Heads 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Dorothy Ashby,
Sad Lovers and Giants,
The Peanut Butter Conspiracy,
Bobby Hutcherson,
Thinking Fellers Union Local 282,
Kerrie Biddell,
Radio Birdman,
Echo & the Bunnymen,
John Coltrane,
Visionaries,LMNO, T- Love & Iriscience,
The Gap Band,
Soft Machine,
La Düsseldorf,
The West Coast Pop Art Experimental Band,
Technova,
Gregory Isaacs,
Morten Harket,
Make Up,
Barrington Levy,
The Motions,
Man Eating Sloth,
Brass Construction,
Bobbi Humphrey,
Motorama,
Sixth Finger,
Marc Romboy vs. Booka Shade,
Bizarre Inc.,
Slick Rick,
Soul II Soul,
Gil Scott-Heron and Jamie xx,
The Walker Brothers,
Unrelated Segments,
Outsiders,
Mr. Review,
Hasil Adkins,
The Slits,
Public Image Ltd.,
Roy Ayers,
Anthony Braxton,
Tres Demented,
Throbbing Gristle,
H. Thieme,
The Beau Brummels,
Lyres,
Lightning Bolt,
Sun Ra,
Liliput,
The Misunderstood,
Parry Music,
Stereo Dub,
ABC,
Jandek,
Tommy Roe,
Aaron Thompson,
Boredoms,
Young Marble Giants,
Freddie Wadling,
Little Man,
Cecil Taylor,
The Doors,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.