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 Belarus and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Radiopuhelimet to the jazz kids.
I played it at Trash.
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 Dead C. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Bootsy Collins 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Royal Family And The Poor,
Neil Young,
Max Romeo,
The Durutti Column,
Howard Jones,
Television,
Bang on a Can All-Stars,
Tommy Roe,
Yusef Lateef,
Pylon,
Flash Fearless,
Peter Gordon & Love of Life Orchestra,
Kas Product,
Barrington Levy,
Notorious BIG live in Amsterdam,
Kool G Rap & DJ Polo,
Symarip,
Fatback Band,
Bootsy's Rubber Band,
Amon Düül,
Michelle Simonal,
Goldenarms,
John Coltrane,
The Cure,
Liaisons Dangereuses,
U.S. Maple,
D'Angelo,
Simply Red,
Popol Vuh,
Rites of Spring,
Alison Limerick,
DNA,
Mantronix,
Cecil Taylor,
Joey Negro,
Saccharine Trust,
Urselle,
The Raincoats,
Angry Samoans,
The Moleskins,
Vladislav Delay,
The Motions,
Marcia Griffiths,
Sam Rivers,
kango's stein massive,
Jesper Dahlback,
Rahsaan Roland Kirk,
Mission of Burma,
DJ Style,
Kevin Saunderson,
Oneida,
Gang Green,
The Fall,
Brick,
Hot Snakes,
Ponytail,
Carl Craig,
Ken Boothe,
Iggy Pop,
Aloha Tigers,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.