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 Cape Verde 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 1964 to 1972.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar 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 Con Funk Shun to the disco kids.
I played it at the Roxy.
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 Big Daddy Kane. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Skarface 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?
Alton Ellis,
Robert Hood,
Archie Shepp,
Warsaw,
Dorothy Ashby,
48th St. Collective,
Sun Ra Arkestra,
Underground Resistance,
Franke,
Iggy Pop,
AZ,
Faraquet,
Heaven 17,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bill Near,
Pharoah Sanders,
Al Stewart,
Aswad,
Ken Boothe,
The Stooges,
Lightning Bolt,
Panda Bear,
Skriet,
The Leaves,
Hasil Adkins,
Sexual Harrassment,
Sly & The Family Stone,
ABC,
Theoretical Girls,
Rapeman,
Soft Machine,
DeepChord presents Echospace,
Excepter,
Rosa Yemen,
Masters at Work,
Soft Cell,
Girls At Our Best!,
Mars,
Ponytail,
the Soft Cell,
Second Layer,
Scan 7,
Terrestrial Tones,
John Lydon,
Charles Mingus,
the Association,
R.M.O.,
Slick Rick,
Gong,
Magma,
PIL,
Neu!,
Toni Rubio,
Albert Ayler,
Symarip,
Derrick May,
Cybotron,
Tres Demented,
The Invisible,
The Tremeloes,
Mantronix,
Ronnie Foster,
Cymande,
Barbara Tucker,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.