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 Madagascar and from Shanghai.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Roger Hodgson to the jazz 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 Lucky Dragons. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Siglo XX,
Fatback Band,
Amon Düül,
Terrestrial Tones,
Slick Rick,
Arcadia,
The Cosmic Jokers,
The Walker Brothers,
Yellowson,
Mark Hollis,
Rites of Spring,
The Star Department,
Make Up,
Gerry Rafferty,
Bluetip,
Glambeats Corp.,
The Leaves,
Marc Romboy vs. Booka Shade,
Peter and Kerry,
The Kinks,
Television Personalities,
The Modern Lovers,
Los Fastidios,
D'Angelo,
Harry Pussy,
Sällskapet,
Pagans,
Gil Scott-Heron and Jamie xx,
Leonard Cohen,
Lalo Schifrin,
Soft Cell,
Simply Red,
The Doobie Brothers,
Cheater Slicks,
The Dead C,
X-102,
Heaven 17,
Quantec,
Agitation Free,
Jeff Lynne,
Sun Ra,
Neil Young & Crazy Horse,
Sonny Sharrock,
Livin' Joy,
Pere Ubu,
Anakelly,
Organ,
Rhythm & Sound,
Morten Harket,
Half Japanese,
The Victims,
Matthew Bourne,
Loose Ends,
Sugar Minott,
Justin Hinds & The Dominoes,
Joey Negro,
Scott Walker + Sunn O))),
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.