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 Guatemala and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Portland and Jakarta.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the guitar 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 Laurel Aitken to the dance kids.
I played it at the 40 Watt.
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 Alice Coltrane. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro 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?
JFA,
The Golliwogs,
Yusef Lateef,
Man Eating Sloth,
Hot Snakes,
Jimmy McGriff,
Infiniti,
Porter Ricks,
Matthew Halsall,
Soulsonic Force,
Urselle,
Black Moon,
UT,
Harry Pussy,
Funky Four + One,
Tom Boy,
Bobby Womack,
Tomorrow,
Larry & the Blue Notes,
Lungfish,
The Human League,
Aaron Thompson,
Unrelated Segments,
Warsaw,
The Young Rascals,
CMW,
T. Rex,
Letta Mbulu,
Peter Gordon & Love of Life Orchestra,
Eric Copeland,
Fluxion,
Bobby Sherman,
La Düsseldorf,
The Slits,
Stiv Bators,
The Blackbyrds,
Skarface,
Scientists,
Bill Near,
Todd Terry,
Aloha Tigers,
10cc,
B.T. Express,
Los Fastidios,
Kool Moe Dee,
Fugazi,
FM Einheit,
Deutsch Amerikanische Freundschaft,
Masters at Work,
the Sonics,
The Last Poets,
Glambeats Corp.,
Dorothy Ashby,
Pere Ubu,
Oppenheimer Analysis,
Heaven 17,
Model 500,
Inner City,
Boredoms,
Super Lover Cee & Casanova Rud,
Nils Olav,
Crime,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.