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 Bangladesh and from Lagos.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Manchester 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Louis and Bebe Barron to the crunk kids.
I played it at CBGB's.
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 Gang Starr. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Simply Red,
Radiohead,
Joe Finger,
the Slits,
Trumans Water,
the Bar-Kays,
Rhythim Is Rhythim,
Babytalk,
EPMD,
K-Klass,
Masters at Work,
The Kinks,
The Happenings,
The Misunderstood,
The Count Five,
Glambeats Corp.,
Bobby Sherman,
Harry Pussy,
X-101,
Tim Buckley,
Model 500,
Yellowson,
The Electric Prunes,
Rapeman,
Barry Ungar,
The Blues Magoos,
Terror Squad Feat. Camron,
Charles Mingus,
Half Japanese,
Animal Collective,
The Leaves,
Colin Newman,
The Divine Comedy,
Andrew Hill,
The Tremeloes,
Section 25,
The Cowsills,
Faraquet,
Eric B and Rakim,
Notorious BIG live in Amsterdam,
Wire,
Eden Ahbez,
Thompson Twins,
Be Bop Deluxe,
Young Marble Giants,
David Bowie,
Jeru the Damaja,
The Five Americans,
Graham Central Station,
Grey Daturas,
Ajijia Myrayebe,
Jacob Miller,
The Last Poets,
Man Parrish,
Jerry Gold Smith,
Black Flag,
Ronnie Foster,
Kevin Saunderson,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.