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 Iceland and from Stockholm.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 ABBA to the jazz 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 The Real Kids. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Warren Ellis 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 '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Kango’s Stein Massive,
Roy Ayers Ubiquity,
Man Eating Sloth,
The New Christs,
The Mummies,
Janne Schatter,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
Outsiders,
Easy Going,
Scott Walker + Sunn O))),
The Cramps,
The Men They Couldn't Hang,
Rufus Thomas,
Magma,
Graham Central Station,
ABC,
Louis and Bebe Barron,
Desert Stars,
X-Ray Spex,
Lonnie Liston Smith,
Lebanon Hanover,
Dorothy Ashby,
Brand Nubian,
Agitation Free,
Matthew Halsall,
The Jesus and Mary Chain,
Eurythmics,
Heaven 17,
The Toasters,
Deadbeat,
Boogie Down Productions,
Stiv Bators,
Colin Newman,
The Residents,
EPMD,
Drexciya,
Grey Daturas,
The Smoke,
James Chance & The Contortions,
X-101,
Strawberry Alarm Clock,
Kayak,
The Mojo Men,
Vaughan Mason & Crew,
Hashim,
Fela Kuti,
Rowland S Howard / Lydia Lunch,
Manfred Mann's Earth Band,
Shoche,
Jimmy McGriff,
Flipper,
The Walker Brothers,
Ultramagnetic MC's,
OOIOO,
Thompson Twins,
Jacques Brel,
It's A Beautiful Day,
The Monks,
Qualms,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.