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 Burundi and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Mexico City 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 Art of Noise practice in a loft in London.
I was working on the sitar 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 The Last Poets to the funk 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 Strawberry Alarm Clock. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Man Parrish,
The Techniques,
Al Stewart,
Alison Limerick,
Boredoms,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Mo-Dettes,
Liliput,
Mandrill,
Unwound,
Tres Demented,
Porter Ricks,
Godley & Creme,
Nils Olav,
Ludus,
Bobby Sherman,
Simply Red,
Ornette Coleman,
Boz Scaggs,
The Detroit Cobras,
Davy DMX,
Lalo Schifrin,
Judy Mowatt,
Rowland S Howard / Lydia Lunch,
Kerrie Biddell,
Crispian St. Peters,
The United States of America,
Sun Ra Arkestra,
Charles Mingus,
The American Breed,
Richard Hell and the Voidoids,
Dark Day,
Chrome,
Agitation Free,
Kings Of Tomorrow,
The Electric Prunes,
The Slits,
the Slits,
Ash Ra Tempel,
Pere Ubu,
Bill Near,
Main Source,
Harpers Bizarre,
Country Joe & The Fish,
Delon & Dalcan,
Marc Romboy vs. Booka Shade,
Grandmaster Flash and the Furious Five,
Ohio Players,
Sound Behaviour,
Stiv Bators,
Arcadia,
OOIOO,
Sandy B,
Hoover,
Rahsaan Roland Kirk,
Chris & Cosey,
Henry Cow,
AZ,
Peter Gordon & Love of Life Orchestra,
Roy Ayers,
Electric Light Orchestra,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.