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 Slovenia and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 DJ Sneak to the punk kids.
I played it at the Crocodile.
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 Motorama. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Aaron Thompson,
Morten Harket,
Nick Cave & The Bad Seeds,
Juan Atkins,
Bad Manners,
Slick Rick,
Anakelly,
Roy Ayers Ubiquity,
Hoover,
48th St. Collective,
The Offenders,
Supertramp,
The J.B.'s,
Minny Pops,
Brothers Johnson,
The Doobie Brothers,
Television Personalities,
Silicon Teens,
Aswad,
Ituana,
Siglo XX,
Ten City,
Sugar Minott,
Kayak,
Das Ding,
The Red Krayola,
Matthew Halsall,
Kerrie Biddell,
Organ,
Deutsch Amerikanische Freundschaft,
Skaos,
Don Cherry,
Tom Boy,
Gichy Dan,
Theoretical Girls,
One Last Wish,
The Gories,
The West Coast Pop Art Experimental Band,
Terrestrial Tones,
Lakeside,
T. Rex,
The Blues Magoos,
James White and The Blacks,
Harpers Bizarre,
Ultra Naté,
Black Flag,
Crispian St. Peters,
Pylon,
Blake Baxter,
The Pop Group,
Swans,
Max Romeo,
Ralphi Rosario,
DeepChord presents Echospace,
The Stooges,
Angels of Light & Akron/Family,
Lalo Schifrin,
The Fortunes,
Zapp,
Nas,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.