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 Andorra and from Shanghai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lille and Spokane.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Man Parrish to the grime 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 Flipper. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Byron Stingily 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
The Cowsills,
The Gladiators,
Susan Cadogan,
Interpol,
Stetsasonic,
Lou Reed & John Cale,
X-102,
Hasil Adkins,
Donny Hathaway,
Vainqueur,
Glambeats Corp.,
The Zeros,
Andrew Ashong & Theo Parrish,
The West Coast Pop Art Experimental Band,
Boogie Down Productions,
Crispy Ambulance,
The Velvet Underground,
Larry & the Blue Notes,
the Soft Cell,
Blake Baxter,
Super Lover Cee & Casanova Rud,
ABBA,
Gang Starr,
Kerri Chandler,
Gabor Szabo,
The Smoke,
Bang On A Can,
This Heat,
Radiopuhelimet,
The Men They Couldn't Hang,
Roxette,
Janne Schatter,
The Index,
Fluxion,
Talk Talk,
Moebius,
Lalo Schifrin,
Simply Red,
the Germs,
DJ Style,
Country Joe & The Fish,
Desert Stars,
Angels of Light & Akron/Family,
Nick Cave & The Bad Seeds,
Jacob Miller,
Eden Ahbez,
Art Ensemble Of Chicago,
Deepchord,
Rod Modell,
The Slackers,
Brass Construction,
The Motions,
Charles Mingus,
Cameo,
Rekid,
Marine Girls,
Hoover,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.