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 Guatemala and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Copenhagen 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the crunk kids.
I played it at Trash.
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 Anthony Braxton. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Cameo 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Lalo Schifrin,
Accadde A,
Spandau Ballet,
Lindisfarne,
China Crisis,
Pagans,
A Certain Ratio,
Eric Copeland,
The Grass Roots,
Girls At Our Best!,
Bobby Hutcherson,
The Smoke,
Rod Modell,
Marine Girls,
Anthony Braxton,
Tropical Tobacco,
Lonnie Liston Smith,
Rakim,
Kauko Röyhkä ja Narttu,
The Walker Brothers,
Youth Brigade,
Max Romeo,
Grauzone,
Man Parrish,
Bizarre Inc.,
Bauhaus,
Cybotron,
the Association,
Gil Scott-Heron and Jamie xx,
EPMD,
Rapeman,
Robert Wyatt,
Yazoo,
The Motions,
Crispian St. Peters,
Skriet,
Depeche Mode,
The Dead C,
Bang On A Can,
DeepChord presents Echospace,
Blossom Toes,
Red Lorry Yellow Lorry,
Interpol,
Cabaret Voltaire,
Sonny Sharrock,
Fluxion,
The Gories,
the Bar-Kays,
Avey Tare,
Gary Puckett & The Union Gap,
The Dirtbombs,
Model 500,
Black Moon,
H. Thieme,
The Cure,
Rhythm & Sound,
MDC,
The Wake,
Kurtis Blow,
Lee Hazlewood,
Fad Gadget,
Inner City,
Amazonics,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.