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 Guinea and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Portland 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 linndrum 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 Scratch Acid to the disco 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 Al Stewart. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Sandy B,
The Leaves,
the Swans,
Rahsaan Roland Kirk,
Alice Coltrane,
Scientists,
Cecil Taylor,
Yazoo,
Black Moon,
Desert Stars,
Rotary Connection,
L. Decosne,
Public Image Ltd.,
John Cale,
Ralphi Rosario,
The Music Machine,
Franke,
Q and Not U,
Notorious BIG live in Amsterdam,
The American Breed,
Bang On A Can,
Anakelly,
Aswad,
Brass Construction,
Pharaoh Sanders and the Fire Engines,
Ituana,
Alton Ellis,
Model 500,
Orchestral Manoeuvres in the Dark,
The Golliwogs,
Ash Ra Tempel,
Bluetip,
Harpers Bizarre,
Absolute Body Control,
Erasure,
Matthew Bourne,
Television,
Fort Wilson Riot,
The Doors,
The Fire Engines,
The United States of America,
Louis and Bebe Barron,
Scott Walker,
Al Stewart,
Trumans Water,
Au Pairs,
Sight & Sound,
Guru Guru,
Grandmaster Flash,
Mantronix,
The Slackers,
The Last Poets,
Ronnie Foster,
the Normal,
The Blues Magoos,
K-Klass,
The Offenders,
Chrome,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Infiniti,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.