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 Serbia and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Guru Guru to the jazz kids.
I played it at Cafe Wha.
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 Jesper Dahlback. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
The Pretty Things,
Deakin,
Bush Tetras,
KRS-One,
Darondo,
Kool Moe Dee,
Ludus,
Soul Sonic Force,
Richard Hell and the Voidoids,
Al Stewart,
Ossler,
Dead Boys,
Howard Jones,
Faust,
Anakelly,
Can,
Connie Case,
Interpol,
Grandmaster Flash,
Orchestral Manoeuvres in the Dark,
Babytalk,
The Evens,
Agent Orange,
Donald Byrd,
The Mojo Men,
Mars,
Fugazi,
Tom Boy,
Reagan Youth,
Minutemen,
The Blackbyrds,
Terrestrial Tones,
Popol Vuh,
Marmalade,
Rosa Yemen,
Roxette,
Roy Ayers,
Letta Mbulu,
Arab on Radar,
L. Decosne,
The Modern Lovers,
Major Organ And The Adding Machine,
The Gap Band,
Nick Fraelich,
Eli Mardock,
Scion,
Kings Of Tomorrow,
The Leaves,
Soulsonic Force,
Jerry's Kids,
Radio Birdman,
the Soft Cell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Suburban Knight,
Warren Ellis,
Flipper,
Country Teasers,
Pantaleimon,
Erasure,
Harry Pussy,
Neil Young,
Faraquet,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.