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 El Salvador and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Lee Hazlewood to the grime 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 The Searchers. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Alice Coltrane,
Barclay James Harvest,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Ronan,
Faust,
The Royal Family And The Poor,
Lalann,
Lou Reed & Metallica,
Boogie Down Productions,
Black Sheep,
Country Teasers,
Steve Hackett,
Rites of Spring,
The Monks,
Absolute Body Control,
Gil Scott-Heron & Brian Jackson,
Laurel Aitken,
Alphaville,
Desert Stars,
Robert Görl,
Byron Stingily,
Susan Cadogan,
the Fania All-Stars,
Ultravox,
June of 44,
James Chance & The Contortions,
Andrew Ashong & Theo Parrish,
Lou Reed,
Smog,
Brand Nubian,
James White and The Blacks,
Sunsets and Hearts,
Ludus,
The Flesh Eaters,
Boz Scaggs,
Blake Baxter,
Lakeside,
Bang on a Can All-Stars,
Lebanon Hanover,
Mars,
MDC,
Harpers Bizarre,
Livin' Joy,
Glambeats Corp.,
Con Funk Shun,
Pere Ubu,
Pantytec,
Sound Behaviour,
Erasure,
Pantaleimon,
Lonnie Liston Smith,
Man Parrish,
Crash Course in Science,
Justin Hinds & The Dominoes,
Lee Hazlewood,
Organ,
Pet Shop Boys,
Metal Thangz,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.