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 Lithuania and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
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 Peter & Gordon to the jazz 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 Alice Coltrane. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
It's A Beautiful Day,
Vainqueur,
Whodini,
Captain Beefheart & His Magic Band,
John Coltrane,
Aural Exciters,
The Wake,
Country Teasers,
Mad Mike,
Groovy Waters,
Khruangbin,
Girls At Our Best!,
Flamin' Groovies,
Grandmaster Flash and the Furious Five,
Bill Near,
Sonny Sharrock,
Thinking Fellers Union Local 282,
Soul II Soul,
Icehouse,
Magma,
The Gun Club,
B.T. Express,
Kings Of Tomorrow,
Arthur Verocai,
Jesper Dahlbäck,
The Kinks,
Symarip,
Al Stewart,
Notorious Big And Bone Thugs,
Heaven 17,
Ossler,
Negative Approach,
The Toasters,
Harpers Bizarre,
Kool Moe Dee,
Intrusion,
Basic Channel,
Shoche,
Brass Construction,
Lower 48,
Funky Four + One,
Freddie Wadling,
Bobby Womack,
Lindisfarne,
Kerrie Biddell,
Pole,
Marshall Jefferson,
Niagra,
Dark Day,
Reuben Wilson,
Sixth Finger,
Rites of Spring,
kango's stein massive,
Tommy Roe,
Marvin Gaye,
Ultramagnetic MC's,
K-Klass,
Jeff Mills,
Metal Thangz,
Todd Rundgren,
The Peanut Butter Conspiracy,
Jacob Miller,
Oblivians, Oblivians, Oblivians, Oblivians.
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.