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 Rwanda and from Bremen.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 The American Breed to the rock kids.
I played it at the Crocodile.
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 Can. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Iggy Pop,
Dr. Dre and Snoop Doggy Dog,
Jeff Mills,
Camouflage,
Minutemen,
The Detroit Cobras,
De La Soul & Jungle Brothers,
Technova,
Amazonics,
Wolf Eyes,
X-Ray Spex,
Amon Düül II,
MC5,
Monolake,
Darondo,
Pulsallama,
Joe Smooth,
Faraquet,
Half Japanese,
Von Mondo,
Idris Muhammad,
Kevin Saunderson,
John Lydon,
Lizzy Mercier Descloux,
Sly & The Family Stone,
Steve Hackett,
Jesper Dahlbäck,
Masters at Work,
Davy DMX,
Shuggie Otis,
Flamin' Groovies,
Stereo Dub,
Gian Franco Pienzio,
Robert Hood,
The Monochrome Set,
a-ha,
Arthur Verocai,
Boogie Down Productions,
The Misunderstood,
The Leaves,
The Jesus and Mary Chain,
Oppenheimer Analysis,
Tears for Fears,
Can,
Mantronix,
Matthew Halsall,
Urselle,
Q and Not U,
Vladislav Delay,
Major Organ And The Adding Machine,
The Standells,
Nick Fraelich,
Gang Gang Dance,
Man Eating Sloth,
Minnie Riperton,
Yaz,
Rites of Spring,
Archie Shepp,
Harpers Bizarre,
Lakeside,
David Bowie,
Arcadia, Arcadia, Arcadia, Arcadia.
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.