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 Sweden and from Bologna.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Ken Boothe to the punk kids.
I played it at the Spitz.
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 Quando Quango. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Soul Sonic Force,
Eurythmics,
The Techniques,
The Red Krayola,
Terry Callier,
Soulsonic Force,
Connie Case,
Shoche,
Joe Smooth,
Heavy D & The Boyz,
Chris & Cosey,
Gil Scott-Heron & Brian Jackson,
David Axelrod,
In Retrospect,
Eric Copeland,
James White and The Blacks,
Grey Daturas,
The Cowsills,
Minnie Riperton,
Vainqueur,
Popol Vuh,
Tropical Tobacco,
Con Funk Shun,
Wolf Eyes,
Skriet,
The Peanut Butter Conspiracy,
The Mojo Men,
Rhythm & Sound,
Rites of Spring,
Essential Logic,
Parry Music,
Byron Stingily,
June of 44,
Matthew Halsall,
Lizzy Mercier Descloux,
Oblivians,
Ossler,
The Evens,
X-Ray Spex,
Theoretical Girls,
Tim Buckley,
Kauko Röyhkä ja Narttu,
Roy Ayers Ubiquity,
Moby Grape,
Nirvana,
Negative Approach,
Agitation Free,
The Motions,
World's Most,
The Sisters of Mercy,
B.T. Express,
Schoolly D,
Bluetip,
Gregory Isaacs,
The Offenders,
The Stooges,
Rapeman,
the Fania All-Stars,
Andrew Ashong & Theo Parrish,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.