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 Ghana and from Spokane.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Lille 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Mo-Dettes to the jazz kids.
I played it at the Spitz.
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 Magma. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
AZ,
Eli Mardock,
Avey Tare,
Dorothy Ashby,
Marine Girls,
Tropical Tobacco,
Mr. Review,
Skarface,
Camberwell Now,
The Kinks,
The Moody Blues,
Minutemen,
X-101,
Lebanon Hanover,
Mission of Burma,
The Cure,
Crime,
Andrew Ashong & Theo Parrish,
Con Funk Shun,
Andrew Hill,
Toni Rubio,
Outsiders,
The Walker Brothers,
Make Up,
Soft Cell,
Maleditus Sound,
The Fall,
Amon Düül II,
Wire,
Bang on a Can All-Stars,
Teenage Jesus and the Jerks,
Marcia Griffiths,
The Slackers,
Saccharine Trust,
Jerry Gold Smith,
Arcadia,
Loose Ends,
Orchestral Manoeuvres in the Dark,
Negative Approach,
Jacob Miller,
ABC,
Lungfish,
Tears for Fears,
Ultramagnetic MC's,
The Gories,
Sonic Youth,
Aaron Thompson,
Gang of Four,
Justin Hinds & The Dominoes,
Ossler,
Michelle Simonal,
Simply Red,
Rhythim Is Rhythim,
The Knickerbockers,
Oneida,
The J.B.'s,
Hardrive,
The Stooges,
The Cowsills,
Lyres, Lyres, Lyres, Lyres.
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.