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 Panama and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Mumbai.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 The Stooges to the rap kids.
I played it at the Crocodile.
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 London Community Gospel Choir. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Smog,
Bobby Byrd,
F. McDonald,
Thinking Fellers Union Local 282,
Scott Walker,
La Düsseldorf,
The Smiths,
The Blues Magoos,
Marmalade,
Model 500,
The Detroit Cobras,
Circle Jerks,
Marcia Griffiths,
Liliput,
Donny Hathaway,
James Chance & The Contortions,
K-Klass,
Warsaw,
Franke,
Louis and Bebe Barron,
Oppenheimer Analysis,
Magma,
Kevin Saunderson,
Sly & The Family Stone,
Altered Images,
The Selecter,
New York Dolls,
Nik Kershaw,
Mission of Burma,
Lebanon Hanover,
Kool G Rap & DJ Polo,
New Age Steppers,
MDC,
Morten Harket,
Johnny Osbourne,
Mandrill,
The Index,
Heaven 17,
Deadbeat,
X-101,
Radiohead,
The Jesus and Mary Chain,
The Real Kids,
Sun City Girls,
Marvin Gaye,
Urselle,
Crispian St. Peters,
Jerry's Kids,
Tubeway Army,
Blossom Toes,
A Flock of Seagulls,
The Vogues,
The Cowsills,
Rekid,
EPMD,
The Divine Comedy,
Dawn Penn,
Fela Kuti,
Q and Not U,
Nation of Ulysses,
Bill Wells,
Gang Gang Dance,
Brass Construction,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.