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 Nigeria and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Bill Near 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 Dorothy Ashby. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Accadde A,
The Five Americans,
Angels of Light & Akron/Family,
Laurel Aitken,
Niagra,
Charles Mingus,
Freddie Wadling,
Tears for Fears,
Dual Sessions,
New York Dolls,
Peter and Kerry,
Mandrill,
Lalann,
Gian Franco Pienzio,
Scion,
The Walker Brothers,
Kerri Chandler,
The Martian,
Urselle,
the Soft Cell,
Dennis Brown,
Major Organ And The Adding Machine,
The Misunderstood,
Interpol,
Graham Central Station,
Neil Young,
The American Breed,
The Last Poets,
Fifty Foot Hose,
Matthew Bourne,
Tim Buckley,
Whodini,
Faust,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash and the Furious Five,
The Vogues,
Saccharine Trust,
Gil Scott-Heron and Jamie xx,
Oppenheimer Analysis,
Ohio Players,
Gang Green,
Boogie Down Productions,
Ken Boothe,
Yusef Lateef,
The Mighty Diamonds,
Nation of Ulysses,
Rakim,
Aaron Thompson,
Lungfish,
Kevin Saunderson,
The Move,
The Motions,
Kool G Rap & DJ Polo,
The Star Department,
The Seeds,
Arcadia,
Minnie Riperton,
Kas Product,
DJ Style,
Kaleidoscope,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.