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 Pakistan and from Woodstock.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school London 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 organ 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 Alice Coltrane to the funk kids.
I played it at the Spitz.
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 Vainqueur. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Fad Gadget 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Tears for Fears,
The Gories,
The Black Dice,
Nik Kershaw,
The Music Machine,
Bang On A Can,
The Velvet Underground,
Brass Construction,
It's A Beautiful Day,
Cybotron,
Juan Atkins,
Peter & Gordon,
Notorious BIG live in Amsterdam,
Grandmaster Flash and the Furious Five,
the Bar-Kays,
The Cure,
Hoover,
The Victims,
Glambeats Corp.,
The Blues Magoos,
Swell Maps,
Suicide,
Nick Fraelich,
the Swans,
Donald Byrd,
Camouflage,
La Düsseldorf,
Boogie Down Productions,
Amon Düül II,
Rapeman,
Byron Stingily,
Eden Ahbez,
Kerrie Biddell,
Sun Ra Arkestra,
Siouxsie and the Banshees,
EPMD,
Joe Smooth,
David McCallum,
Smog,
Cal Tjader,
Mars,
Easy Going,
Alice Coltrane,
Gil Scott-Heron and Jamie xx,
Boredoms,
Mantronix,
Black Flag,
Visage,
Sound Behaviour,
Jimmy McGriff,
Inner City,
Eddi Front,
Organ,
Zapp,
Boz Scaggs,
New Age Steppers,
Bill Wells,
Monolake,
The Sonics,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.