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 United Kingdom and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Cairo 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 sitar 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 Grandmaster Flash to the rap kids.
I played it at the Troubador.
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 Funkadelic. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Quadrant 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Pulsallama,
Glenn Branca,
The Searchers,
Thinking Fellers Union Local 282,
Black Pus,
June Days,
Cecil Taylor,
The Music Machine,
8 Eyed Spy,
The Cowsills,
UT,
Fatback Band,
Brass Construction,
Bobby Byrd,
Notorious BIG live in Amsterdam,
Rites of Spring,
Tubeway Army,
Young Marble Giants,
KRS-One,
Sparks,
The Cosmic Jokers,
The Mummies,
Michelle Simonal,
Big Daddy Kane,
Con Funk Shun,
The Beau Brummels,
Arthur Verocai,
Jacob Miller,
Radiohead,
The Selecter,
Matthew Halsall,
The Doors,
Eve St. Jones,
Unrelated Segments,
L. Decosne,
Lafayette Afro Rock Band,
Tomorrow,
Avey Tare & Kría Brekkan,
Yellowson,
Marine Girls,
Fat Boys,
Oneida,
Terry Callier,
The Fall,
Marc Almond,
The Techniques,
Larry & the Blue Notes,
Peter and Kerry,
The Cramps,
DJ Style,
Kerri Chandler,
Lakeside,
New Order,
Piero Umiliani,
Visionaries,LMNO, T- Love & Iriscience,
Underground Resistance,
Arab on Radar,
The J.B.'s,
Groovy Waters,
Nick Cave & The Bad Seeds,
Justin Hinds & The Dominoes,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.