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 Eritrea and from Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Manchester and Shanghai.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Franke to the grunge kids.
I played it at CBGB's.
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 Smog. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Throbbing Gristle,
Oppenheimer Analysis,
Andrew Hill,
Frankie Knuckles,
John Lydon,
The Gap Band,
Model 500,
The Moleskins,
Nick Fraelich,
Marshall Jefferson,
Funky Four + One,
Notorious BIG live in Amsterdam,
Royal Trux,
Carl Craig,
Joe Finger,
Youth Brigade,
Schoolly D,
Cluster,
The Star Department,
Sun Ra Arkestra,
Sun City Girls,
Banda Bassotti,
Joey Negro,
Flamin' Groovies,
The Real Kids,
Pete Rock & C.L. Smooth,
Desert Stars,
The Toasters,
Brand Nubian,
Popol Vuh,
These Immortal Souls,
James White and The Blacks,
Johnny Osbourne,
Soft Machine,
a-ha,
Intrusion,
Stockholm Monsters,
Rahsaan Roland Kirk,
Josef K,
MDC,
David McCallum,
Gastr Del Sol,
Procol Harum,
June Days,
Traffic Nightmare,
Thee Headcoats,
Black Flag,
Neil Young & Crazy Horse,
Chris & Cosey,
Sight & Sound,
Kool G Rap & DJ Polo,
Lungfish,
Black Bananas,
Ken Boothe,
Kas Product,
The Gun Club,
Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cecil Taylor,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.