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 Iran and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 Ralphi Rosario to the grime 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 The Sound. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Bobby Womack,
Visage,
Kurtis Blow,
Donald Byrd,
Aswad,
Loose Ends,
The West Coast Pop Art Experimental Band,
Desert Stars,
Susan Cadogan,
Don Cherry,
ABBA,
Camberwell Now,
Sonic Youth,
Mantronix,
Metal Thangz,
Bill Near,
Colin Newman,
Gichy Dan,
Juan Atkins,
The Dead C,
Cluster,
Rufus Thomas,
Minnie Riperton,
Frankie Knuckles,
Scott Walker + Sunn O))),
The J.B.'s,
Robert Hood,
Carl Craig,
Ornette Coleman,
Sister Nancy,
Deadbeat,
The Beau Brummels,
Whodini,
Crime,
The Cramps,
Rapeman,
Aaron Thompson,
Jeff Lynne,
Mad Mike,
June of 44,
The Associates,
In Retrospect,
Niagra,
X-Ray Spex,
The Fugs,
Cybotron,
Dennis Brown,
The Detroit Cobras,
Ultimate Spinach,
Man Parrish,
Terrestrial Tones,
Be Bop Deluxe,
Idris Muhammad,
The Zeros,
Gang Gang Dance,
Moby Grape,
The Remains,
The Last Poets,
Sun Ra,
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.