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 Equatorial Guinea and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Lagos 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Scan 7 to the rock kids.
I played it at the Hacienda.
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 Byron Stingily. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Second Layer 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Kango’s Stein Massive,
the Fania All-Stars,
Sixth Finger,
The Neon Judgement,
Wally Richardson,
Eric Copeland,
The Young Rascals,
Max Romeo,
Lafayette Afro Rock Band,
Slave,
Camberwell Now,
Supertramp,
The Peanut Butter Conspiracy,
Saccharine Trust,
Faust,
Deadbeat,
The Star Department,
Andrew Hill,
10cc,
Steve Hackett,
Camron Feat. Jay Z And Juelz,
Yazoo,
Mr. Review,
Symarip,
Donald Byrd,
Lakeside,
Scott Walker + Sunn O))),
Joe Smooth,
Boogie Down Productions,
Shuggie Otis,
Throbbing Gristle,
Lou Reed & John Cale,
Massinfluence,
Brothers Johnson,
Mandrill,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
Captain Beefheart & His Magic Band,
Intrusion,
Technova,
Crooked Eye,
Angry Samoans,
Heavy D & The Boyz,
MDC,
Marc Romboy vs. Booka Shade,
MC5,
The Detroit Cobras,
Prince Buster,
Harry Pussy,
The Busters,
The Pop Group,
The Music Machine,
Inner City,
Electric Light Orchestra,
The Alarm Clocks,
Depeche Mode,
Orchestral Manoeuvres in the Dark,
Moby Grape,
Minnie Riperton,
DeepChord presents Echospace,
John Lydon,
Marine Girls,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.