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 Seychelles and from Manila.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Livin' Joy to the dance 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 Kerrie Biddell. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Sun Ra,
Robert Görl,
The Slits,
Susan Cadogan,
The Slackers,
The Velvet Underground,
De La Soul & Jungle Brothers,
Jacob Miller,
Oneida,
PIL,
Das Ding,
Deepchord,
The Beau Brummels,
Gastr Del Sol,
Newcleus,
Franke,
Henry Cow,
Reuben Wilson,
Eli Mardock,
Cheater Slicks,
The Trojans,
James White and The Blacks,
Public Image Ltd.,
Lou Reed,
Unrelated Segments,
Duran Duran,
Avey Tare's Slasher Flicks,
Tropical Tobacco,
Marmalade,
Rowland S Howard / Lydia Lunch,
Marvin Gaye,
Cabaret Voltaire,
Scan 7,
B.T. Express,
Ice-T,
John Holt,
Pussy Galore,
Yellowson,
Roger Hodgson,
Rhythm & Sound,
Shuggie Otis,
Scratch Acid,
Mandrill,
Ultimate Spinach,
Cal Tjader,
Sticky Fingaz feat. Raekwon,
Bluetip,
Crooked Eye,
Sparks,
Nils Olav,
Joy Division,
Kayak,
Junior Murvin,
Adolescents,
Yazoo,
Depeche Mode,
Black Pus,
The Wake,
the Soft Cell,
Half Japanese,
a-ha,
The Royal Family And The Poor,
the Association, the Association, the Association, the Association.
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.