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 Austria and from Cairo.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school London 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Charles Mingus to the electroclash kids.
I played it at the Astoria.
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 Zeros. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
The Divine Comedy,
Harmonia,
Gil Scott Heron,
Lafayette Afro Rock Band,
The American Breed,
Max Romeo,
Joey Negro,
Ice-T,
Eve St. Jones,
Rakim,
Kango’s Stein Massive,
The Durutti Column,
Index,
Radiohead,
Marmalade,
Blake Baxter,
Quadrant,
Nik Kershaw,
Tears for Fears,
Marc Romboy vs. Booka Shade,
Unwound,
Johnny Clarke,
FM Einheit,
Funkadelic,
Lucky Dragons,
Faraquet,
Japan,
Grauzone,
Parry Music,
Kauko Röyhkä ja Narttu,
The Selecter,
F. McDonald,
Smog,
Wings,
Sugar Minott,
Tomorrow,
Ohio Players,
D'Angelo,
Slave,
John Coltrane,
48th St. Collective,
Chris & Cosey,
Ajijia Myrayebe,
LL Cool J,
Altered Images,
Funky Four + One,
Groovy Waters,
Lou Reed,
The Invisible,
Warsaw,
Connie Case,
The Toasters,
Bad Manners,
Chris Corsano,
Ken Boothe,
Wolf Eyes,
Ponytail,
Public Image Ltd.,
Quando Quango,
Bang On A Can,
Scientists, Scientists, Scientists, Scientists.
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.