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 Argentina and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Eric B and Rakim to the techno 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 Reuben Wilson. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Suburban Knight,
Angels of Light & Akron/Family,
Susan Cadogan,
Eddi Front,
Babytalk,
Aloha Tigers,
Peter Gordon & Love of Life Orchestra,
Q and Not U,
Jeru the Damaja,
Sun City Girls,
The United States of America,
Malaria!,
Marc Romboy vs. Booka Shade,
Deepchord,
Graham Central Station,
Pagans,
The Selecter,
Pierre Henry,
Mission of Burma,
Bad Manners,
Audionom,
Bang On A Can,
Sam Rivers,
The Fortunes,
Strawberry Alarm Clock,
Electric Light Orchestra,
Underground Resistance,
Magma,
Oblivians,
Nico,
Eyeless In Gaza,
Bauhaus,
X-Ray Spex,
The Doobie Brothers,
the Bar-Kays,
Brick,
Camron Feat. Jay Z And Juelz,
The Barracudas,
Kayak,
Gang Starr,
June of 44,
Harpers Bizarre,
Ossler,
The Zeros,
Quadrant,
Kango’s Stein Massive,
Lee Hazlewood,
Sandy B,
Quando Quango,
Judy Mowatt,
Kool Moe Dee,
cv313,
10cc,
The Five Americans,
the Association,
Rufus Thomas,
Terror Squad Feat. Camron,
Can,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.