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 Malta and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Warsaw to the dance kids.
I played it at CBGB's.
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 the Swans. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar 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 spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Ultramagnetic MC's,
The Cramps,
The Fugs,
Stetsasonic,
James Chance & The Contortions,
Deakin,
Barbara Tucker,
Von Mondo,
Eddi Front,
Con Funk Shun,
The Pretty Things,
Todd Terry,
Marcia Griffiths,
Yusef Lateef,
Super Lover Cee & Casanova Rud,
Curtis Mayfield,
Royal Trux,
Matthew Halsall,
Quadrant,
Alice Coltrane,
Sex Pistols,
Chris Corsano,
In Retrospect,
48th St. Collective,
Radiohead,
Neil Young & Crazy Horse,
Icehouse,
Jawbox,
London Community Gospel Choir,
Patti Smith,
Depeche Mode,
the Germs,
Monks,
Big Daddy Kane,
Public Enemy,
Freddie Wadling,
Pere Ubu,
Ornette Coleman,
The Music Machine,
Model 500,
Rosa Yemen,
Derrick Morgan,
Mars,
Pylon,
Eric B and Rakim,
Circle Jerks,
MDC,
Sad Lovers and Giants,
Prince Buster,
Andrew Ashong & Theo Parrish,
Banda Bassotti,
Country Joe & The Fish,
Kurtis Blow,
T.S.O.L.,
Nation of Ulysses,
Kevin Saunderson,
Masters at Work,
the Swans,
Glenn Branca,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.