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 Latvia and from Johannesburg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Jakarta 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 808 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 Deakin to the jazz kids.
I played it at the Hacienda.
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 Fort Wilson Riot. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Lindisfarne,
Hashim,
Ajijia Myrayebe,
Severed Heads,
The Stooges,
The Wake,
D'Angelo,
Ronnie Foster,
Loose Ends,
The Beau Brummels,
Peter & Gordon,
The Fugs,
DJ Sneak,
Judy Mowatt,
Vaughan Mason & Crew,
DJ Style,
Iggy Pop,
Wire,
Amazonics,
Deutsch Amerikanische Freundschaft,
Lou Reed & John Cale,
R.M.O.,
Marcia Griffiths,
Pharaoh Sanders and the Fire Engines,
Robert Görl,
Bobby Hutcherson,
The Black Dice,
Cymande,
Camberwell Now,
The Red Krayola,
Rites of Spring,
PIL,
AZ,
Joensuu 1685,
Avey Tare's Slasher Flicks,
DNA,
The Evens,
Dorothy Ashby,
Marvin Gaye,
Jerry Gold Smith,
Yusef Lateef,
Los Fastidios,
Patti Smith,
Lou Reed,
Arthur Verocai,
Skriet,
Danielle Patucci,
Kerri Chandler,
Groovy Waters,
Q65,
The Searchers,
Basic Channel,
Jacques Brel,
Tomorrow,
Thompson Twins,
The Trojans,
Monolake,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.