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 Mali and from Bremen.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Selector Dub Narcotic to the techno kids.
I played it at the Astoria.
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 Sunsets and Hearts. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Pulsallama 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 '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Blossom Toes,
Ultimate Spinach,
Eurythmics,
Dark Day,
Connie Case,
Brass Construction,
Country Teasers,
World's Most,
The Misunderstood,
Marc Romboy vs. Booka Shade,
Schoolly D,
Main Source,
Dawn Penn,
Depeche Mode,
Motorama,
Kerri Chandler,
Slave,
48th St. Collective,
Bang On A Can,
Half Japanese,
Clear Light,
The Star Department,
The Mojo Men,
Lindisfarne,
Kool G Rap & DJ Polo,
The Beau Brummels,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Trumans Water,
The Sisters of Mercy,
Jimmy McGriff,
Nation of Ulysses,
The Associates,
Kauko Röyhkä ja Narttu,
MDC,
Andrew Ashong & Theo Parrish,
Aural Exciters,
Röyhkä ja Rättö ja Lehtisalo,
the Normal,
Fela Kuti,
Stereo Dub,
Negative Approach,
Chrome,
Scientists,
The Raincoats,
Sonny Sharrock,
Bang on a Can All-Stars,
Alton Ellis,
London Community Gospel Choir,
Minor Threat,
Saccharine Trust,
Black Sheep,
Ponytail,
Cecil Taylor,
Zapp,
Dual Sessions,
Lightning Bolt,
The Searchers,
Icehouse,
Fort Wilson Riot,
The Red Krayola,
Heavy D & The Boyz,
Rakim, Rakim, Rakim, Rakim.
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.