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 Egypt and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Toronto and Paris.
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 snare 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 Albert Ayler to the jazz kids.
I played it at the Roxy.
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 Busters. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Easy Going,
Shuggie Otis,
Hardrive,
The Velvet Underground,
Pharaoh Sanders and the Fire Engines,
MDC,
X-102,
Ralphi Rosario,
Kenny Larkin,
Mark Hollis,
Electric Light Orchestra,
Amon Düül,
Schoolly D,
Kauko Röyhkä ja Narttu,
Patti Smith,
Smog,
The Sound,
Clear Light,
T. Rex,
Echo & the Bunnymen,
U.S. Maple,
The Mojo Men,
The Move,
the Soft Cell,
Stetsasonic,
ABBA,
Oblivians,
Stereo Dub,
Agent Orange,
Gian Franco Pienzio,
Spoonie Gee,
China Crisis,
Fatback Band,
Minutemen,
Kango’s Stein Massive,
Bobby Byrd,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
The Slackers,
Ponytail,
Tubeway Army,
Alison Limerick,
Cecil Taylor,
Kayak,
Alice Coltrane,
Warsaw,
Scion,
The Selecter,
Gregory Isaacs,
Beasts of Bourbon,
Grandmaster Flash and the Furious Five,
Angry Samoans,
Zapp,
Q65,
Mr. Review,
Magazine,
Motorama,
Y Pants,
Sight & Sound,
PIL,
The Fugs, The Fugs, The Fugs, The Fugs.
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.