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 Kenya and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
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 snare 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 Terrestrial Tones to the grime 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 Nas. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Avey Tare & Kría Brekkan,
Bootsy's Rubber Band,
Boogie Down Productions,
Crispy Ambulance,
Ossler,
Radiopuhelimet,
Bill Wells,
Technova,
Oblivians,
UT,
The Smiths,
The Durutti Column,
Isaac Hayes,
Massinfluence,
Wire,
Whodini,
Lou Reed,
Cluster,
Minnie Riperton,
Man Eating Sloth,
Monks,
The Barracudas,
The Gap Band,
Lou Reed & Metallica,
Sugar Minott,
Laurel Aitken,
The Moleskins,
It's A Beautiful Day,
James White and The Blacks,
Gil Scott-Heron and Jamie xx,
Deutsch Amerikanische Freundschaft,
Mary Jane Girls,
Brick,
Nas,
Hot Snakes,
Hasil Adkins,
Fear,
Liliput,
Pantytec,
Derrick Morgan,
Qualms,
Kool G Rap & DJ Polo,
AZ,
the Normal,
The Black Dice,
Franke,
Moby Grape,
Stereo Dub,
Crash Course in Science,
Television Personalities,
MC5,
Barclay James Harvest,
Marc Almond,
Bluetip,
The Human League,
Jesper Dahlbäck,
Dual Sessions,
Bobby Womack,
The Beau Brummels,
The Cure,
Graham Central Station,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.