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 Romania and from Tehran.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Paris 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Albert Ayler 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 Kenny Larkin. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Sex Pistols,
Drive Like Jehu,
Groovy Waters,
Ornette Coleman,
The Electric Prunes,
Marshall Jefferson,
the Bar-Kays,
Brass Construction,
In Retrospect,
Country Teasers,
B.T. Express,
Minnie Riperton,
Average White Band,
the Fania All-Stars,
Ash Ra Tempel,
Fad Gadget,
Fat Boys,
Basic Channel,
Stockholm Monsters,
Sonic Youth,
The Star Department,
H. Thieme,
Intrusion,
The Monochrome Set,
Zapp,
Jacques Brel,
Nico,
Flash Fearless,
Pete Rock & C.L. Smooth,
Mission of Burma,
Lebanon Hanover,
June of 44,
James White and The Blacks,
Bill Wells,
Organ,
Johnny Clarke,
48th St. Collective,
Neil Young,
Fort Wilson Riot,
Barrington Levy,
Jacob Miller,
The Chocolate Watch Band,
Masters at Work,
Pole,
Tim Buckley,
a-ha,
Sound Behaviour,
PIL,
Eli Mardock,
Brand Nubian,
Maleditus Sound,
The Saints,
Crispy Ambulance,
Crispian St. Peters,
Sunsets and Hearts,
KRS-One,
U.S. Maple,
The Peanut Butter Conspiracy,
DJ Sneak,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.