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 East Timor and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Edmonton and Portland.
I'm losing my edge to the art-school Paris 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 snare 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 Kevin Saunderson to the dance kids.
I played it at Trash.
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 Brothers Johnson. All the underground hits.
All The New Christs 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Fugs,
Porter Ricks,
Parry Music,
Judy Mowatt,
DNA,
Terry Callier,
U.S. Maple,
Japan,
The J.B.'s,
The Invisible,
Vainqueur,
Cal Tjader,
Thompson Twins,
London Community Gospel Choir,
Dawn Penn,
Goldenarms,
Matthew Halsall,
The Busters,
Prince Buster,
Strawberry Alarm Clock,
Crispian St. Peters,
Big Daddy Kane,
The Blues Magoos,
Lalann,
KRS-One,
Accadde A,
Alison Limerick,
Ludus,
Danielle Patucci,
Colin Newman,
Pagans,
Tears for Fears,
Henry Cow,
These Immortal Souls,
Tomorrow,
The Golliwogs,
Tommy Roe,
Fluxion,
MC5,
Country Teasers,
Amon Düül II,
June Days,
Soulsonic Force,
Saccharine Trust,
Brand Nubian,
John Cale,
Banda Bassotti,
K-Klass,
Captain Beefheart & His Magic Band,
Howard Jones,
Michelle Simonal,
Don Cherry,
Roxy Music,
The Red Krayola,
Stereo Dub,
China Crisis,
Quadrant,
Thee Headcoats,
Bauhaus,
Harmonia,
Cymande,
Liaisons Dangereuses,
The Victims, The Victims, The Victims, The Victims.
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.