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 Maldives and from Calgary.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Woodstock 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 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 Little Man 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 Lindisfarne. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Grey Daturas 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Scott Walker,
10cc,
Ituana,
The Doobie Brothers,
Peter & Gordon,
Suburban Knight,
The Knickerbockers,
The Barracudas,
Deutsch Amerikanische Freundschaft,
Juan Atkins,
Nas,
The Chocolate Watch Band,
Davy DMX,
World's Most,
MC5,
Albert Ayler,
Arab on Radar,
Symarip,
Mad Mike,
Joyce Sims,
James White and The Blacks,
Can,
H. Thieme,
Soft Cell,
Sight & Sound,
Lee Hazlewood,
Rosa Yemen,
Selector Dub Narcotic,
Soul Sonic Force,
The Electric Prunes,
Dual Sessions,
Gary Puckett & The Union Gap,
Scott Walker + Sunn O))),
Bad Manners,
The New Christs,
Johnny Osbourne,
Sad Lovers and Giants,
Slave,
Oblivians,
Newcleus,
Monks,
The Standells,
The Buckinghams,
Kango’s Stein Massive,
The Blackbyrds,
48th St. Collective,
Darondo,
Ultravox,
The Toasters,
Pagans,
Eden Ahbez,
Aswad,
Siouxsie and the Banshees,
Infiniti,
Suicide,
Lonnie Liston Smith,
Big Daddy Kane,
The Birthday Party,
Aural Exciters,
Morten Harket,
Boredoms, Boredoms, Boredoms, Boredoms.
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.