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 Spain and from Columbus.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school London 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 The Birthday Party to the techno 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 Matthew Bourne. All the underground hits.
All Nas tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Lee Hazlewood,
Junior Murvin,
Eve St. Jones,
H. Thieme,
Loose Ends,
U.S. Maple,
Crispian St. Peters,
Deutsch Amerikanische Freundschaft,
The Remains,
Surgeon,
Rakim,
The Shadows of Knight,
Country Teasers,
The Monochrome Set,
Gang Starr,
Negative Approach,
The Motions,
Rotary Connection,
Glambeats Corp.,
Marmalade,
John Foxx,
Dawn Penn,
Tropical Tobacco,
The Leaves,
Godley & Creme,
Moebius,
The Electric Prunes,
Bang on a Can All-Stars,
Skriet,
Cameo,
Kool G Rap & DJ Polo,
Scion,
EPMD,
Kenny Larkin,
Sparks,
Tears for Fears,
Sister Nancy,
Big Daddy Kane,
Eli Mardock,
The Stooges,
James White and The Blacks,
F. McDonald,
Scan 7,
Ice-T,
cv313,
Morten Harket,
the Fania All-Stars,
Quantec,
Camberwell Now,
Rosa Yemen,
Lakeside,
Joyce Sims,
Shuggie Otis,
Animal Collective,
Sight & Sound,
Fatback Band,
Niagra,
Faust,
Stockholm Monsters,
Fort Wilson Riot,
Talk Talk,
the Human League, the Human League, the Human League, the Human League.
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.