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 South Africa and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Clear Light to the rock kids.
I played it at the Roxy.
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 Archie Shepp. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Bronski Beat 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Underground Resistance,
Popol Vuh,
Swans,
It's A Beautiful Day,
Gichy Dan,
Marcia Griffiths,
Infiniti,
Todd Terry,
Model 500,
Barbara Tucker,
Ituana,
Mark Hollis,
The Neon Judgement,
Ultimate Spinach,
Public Enemy,
Cal Tjader,
The Sisters of Mercy,
The Fortunes,
R.M.O.,
Magazine,
Marc Romboy vs. Booka Shade,
The Gories,
Kas Product,
The Young Rascals,
Scan 7,
The Star Department,
Orchestral Manoeuvres in the Dark,
U.S. Maple,
Anakelly,
Jandek,
Banda Bassotti,
Smog,
Mr. Review,
Nico,
Piero Umiliani,
Joensuu 1685,
kango's stein massive,
MDC,
The Associates,
Ponytail,
Toni Rubio,
Jawbox,
Black Moon,
June Days,
Eve St. Jones,
Anthony Braxton,
Larry & the Blue Notes,
Dark Day,
Electric Prunes,
The Beau Brummels,
The Flesh Eaters,
Funkadelic,
Camberwell Now,
Angels of Light & Akron/Family,
K-Klass,
The Velvet Underground,
Radio Birdman,
Ten City,
Brand Nubian,
Joe Smooth,
Selector Dub Narcotic,
The Index, The Index, The Index, The Index.
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.