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 Malta and from Johannesburg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Rakim to the grunge 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 Real Kids. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
DNA,
the Bar-Kays,
A Flock of Seagulls,
Scientists,
Sam Rivers,
Drexciya,
World's Most,
Colin Newman,
Brand Nubian,
Kango’s Stein Massive,
Rapeman,
Liliput,
Eddi Front,
Technova,
Kenny Larkin,
CMW,
Amazonics,
Terror Squad Feat. Camron,
Bill Near,
Idris Muhammad,
Sunsets and Hearts,
Throbbing Gristle,
The Chocolate Watch Band,
T.S.O.L.,
Selector Dub Narcotic,
It's A Beautiful Day,
Roy Ayers Ubiquity,
Anthony Braxton,
Symarip,
One Last Wish,
John Foxx,
The West Coast Pop Art Experimental Band,
Yusef Lateef,
Shoche,
Derrick Morgan,
Sugar Minott,
Tres Demented,
Loose Ends,
Ten City,
Faust,
Art Ensemble Of Chicago,
Marc Romboy vs. Booka Shade,
Kurtis Blow,
Joy Division,
Lalann,
Masters at Work,
The Dirtbombs,
The Smoke,
Simply Red,
Lucky Dragons,
Robert Wyatt,
Manfred Mann's Earth Band,
The Slits,
The Kinks,
John Holt,
Deakin,
Junior Murvin,
Mars,
Soulsonic Force,
Kas Product,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.